About This Program

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The concerto is one of the earliest forms in classical music, originating in the early 17th century. And while today, we almost always think of the concerto as being for a solo instrument backed by an ensemble, Baroque composers saw the concerto as a much more fluid form. 

The Oboe Concerto by Albinoni and the Recorder Concerto by Vivaldi featured on this program, are two of the most famous concerti to emerge from the Baroque period. Standard fare in regards to their form, the first highlights the oboe’s ability to mimic the human voice, while the latter is a pure display of technical fireworks. 

Bach’s Brandenburg Concertos were groundbreaking in their daring to mix together an unprecedented combination of orchestral instruments. The 2nd concerto features a clarino (think a high pitched trumpet), a recorder, an oboe, and a violin. And don’t forget the orchestra of course. The outcome is an extraordinary mix of colors and timbres.

Perhaps the most outlandish piece on the program is Zelenka’s Concerto for 8 Soloists! Following somewhat in the footsteps of Bach’s Brandenburgs, this unique work has instruments literally popping out of the woodwork. But what seems to start as a straightforward oboe concerto, quickly takes a turn into a musical farce. 

Showing the concerto in its rawest form today, is the newly composed Trumpet Concerto by Brazilian-American composer Clarice Assad. Entitled Bohemian Queen, this brand new work was composed specifically for Trumpet player Mary Elizabeth Bowden, and was commissioned by the COT as part of a consortium featuring the Austin Symphony, the Philadelphia Chamber Orchestra, and the Chautauqua Festival Orchestra to name a few.