Movement 1: [Allegro]
Movement 2: Siciliano
Movement 3: Allegro
For the first movement the opening Sinfonia to Cantata 169 appears to be the purest source, since the right hand of the solo organ part can be transcribed for the new solo instrument whereas the later harpsichord concerto is full of additional keyboard figurations. In the second movement, a Siciliano eminently suited to the oboe, Bach shortens the harpsichord version by eight bars, missing out a ritornello (and introducing a sudden harmonic shift), though he had included this section in the cantata, where the singer might well have needed to take a breath. The version recorded here grants the soloist that respite too. For the last movement the Cantata 49 version is used as the principal reference, though the harpsichord version is turned to at two points, substituting an unidiomatic repeated note with the harpsichord’s trill, and filling in the oboe’s line at two sparsely scored bars with the harpsichord’s added concerto part.
from notes by Robert King © 1988