Wolfgang Amadeus Mozart's Oboe Concerto in C major, K. 314 (271k), was composed in the spring or summer of 1777, for the oboist Giuseppe Ferlendis (1755–1802) from Bergamo. In 1778, Mozart re-worked it as a concerto for flute in D major. The concerto is a widely studied piece for both instruments and is one of the most important concertos in the oboe repertoire. Movements As with his Flute Concerto No. 1, the piece is orchestrated for a standard string section (violin I/II, viola and cello/double bass doubling the bass line), two oboes, and two horns in D/C. The first and third movements are in the home key of C major, while the second movement is in the subdominant key of F major. The piece is divided into three movements: Allegro aperto Adagio non troppo Rondo : Allegretto Flute Concerto No. 2 The Flute Concerto No. 2 in D major, K. 314 (285d) is an adaptation of the original oboe concerto. Dutch flautist Ferdinand de Jean (1731–1797) commissioned Mozart for four flute quartets and three flute concerti, of which Mozart only completed three quartets and one new flute concerto. Instead of creating a new second concerto, Mozart rearranged the oboe concerto he had written a year earlier as the second flute concerto, although with substantial changes for it to fit with what the composer deemed flute-like. However, de Jean did not pay Mozart for this concerto because it was based on the oboe concerto. Origin In the 1800s and early 1900s, the oboe concerto was presumed to be lost, while the flute concerto in D remained known. The oboe concerto was rediscovered by Bernhard Paumgartner in 1920, who found a handwritten set of parts in the Salzburg Mozarteum archives, and recognized the similarity with the flute concerto in D. Alfred Einstein, editor of the third edition of the Köchel catalogue (1937), noted that both a D major and a C major copy of the K. 314 concerto existed in the library of the Gesellschaft der Musikfreunde in Vienna. From this and also from Paumgartner's discovery, Einstein concluded that the concerto was originally for oboe. The priority of the oboe version is supported by Mozart's letters, as well as various evidence from the music itself. For example, according to Einstein in his Mozart: His Character, His Work and Paumgartner in his Mozart-Jahrbuch, the violins in the D major version never go below