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The oboe’s golden age is without a doubt during the XVIII century, and more concretely during the period that coincides with the life of J.S.Bach: 1685 – 1750.

The Baroque composers dedicated to the oboe many and very diverse compositions: Concerts for oboe and strings (usually with one musician for each part), Sonatas with B.C, and one of Baroque’s most characteristic musical forms: the Trio sonata.

The basis of all of these compositions was the Basso continuo  which, even though it had many instrumental combinations, it had the harpsichord, the cello or the bassoon as the most usual chamber formation. 

I formed part of many chamber formations (Wind quintet, Trio d'anches, Quintet with piano, etc.) my favourite has been the oboe and B.C., and with Josefina they have given us the possibility to play infinity of original works.

This formation has made it possible:

-          to play trio sonatas, with a second oboe. Group “Calamus Musicae” (two oboes, bassoon, and harpsichord).

-          to play chamber cantatas, with one voice. Group “Stile Concertante” (voice, oboe, cello, and harpsichord).

-          to play with two violins, a viola and a cello, concerts “for and with” oboe, strings, and low continuum. Group “Concerti a Cinque”.