Oboe Concerto in C major, K. 314, I. Allegro Aperto
  • Oboe Concerto in C major, K. 314, I. Allegro Aperto
  • Martin Gabriel; Johannes Wildner: Vienna Mozart Academy
  • Bassoon Concerto, Oboe Concerto, Clarinet Concerto

Wolfgang Amadeus Mozart (1756-1791)

The Oboe Concerto in C majorK. 314 was originally composed in Spring or Summer 1777 for oboist Giuseppe Ferlendis (1755–1802) from Bergamo, then reworked by the composer as a concerto for flute in D major in 1778. The concerto is a widely-studied piece for both instruments and is one of the more important concerti for the oboe.

While the original version for oboe had been lost before Alfred Einstein wrote Mozart: His Character, His Work, the oboe origin of the flute concerto was suspected then, in part because of references in letters to a now-missing oboe concerto, as Einstein wrote, and of similar details in the orchestral string lines which suggested a transposition was used.

Also, Einstein noted the two scores in D Major and C Major of the K. 314 Concerto in the Library of the Gesellschaft der Musikfreunde in Vienna, which led to the belief that the oboe concerto was the origin of the flute concerto. The orchestra parts of the composition and solo oboe part in C were rediscovered by Bernhard Paumgartner in Salzburg, in 1920.


There was a time when just about no one believed in him. There was a time when even I would gaze into his stall at him and wonder what he would ever end up doing…. If he’d stay sound. I still remember being told ‘I don’t like Mozart, I only like *******’ by someone who rode him a few times during his rough time. I didn’t even like him so much. He was always in a bad mood. He was flat out mean, and I’m sure he hated his foot for causing him pain time and time again. He would abscess, and then heal. He would be sound for a month, maybe two, we would make some progress under saddle. He would abscess again. 
Kandis got him surgery, and all of the bad stuff in that foot was finally gone for good. No more re-abscessing, no more abscesses in the nearly 2 years since. He’s holding so strong.
After surgery he still needed stall rest. He had a canyon in his hoof and there was no way October mud would allow that to dry and harden, so in he stayed for a while longer. He’d kick off his protective duct-tape boot. He’d kick at the stall for treats. He’d pin his ears at you. He’d run his teeth up the bars.
He kicked me in the side during a hand walk one morning. I walked him with a chain for the remainder of his stall-rest. 
Not long after surgery was he ready to be ridden. Most of the wait was for the sake of a hardened hoof. He wanted to learn. He also wanted to fight for his ability to call the shots. He wanted to canter, but he didn’t want to load that once-rotten foot. It took him a long time to forget the pain of the injury. 
His ears started to prick up when you stopped by his stall. More and more the sound of him skimming the bars with his teeth was replaced with the knocking of his salt-lick against the wall. He loved that thing, a redmond rock, and it was gone in less than 2 months. His total fear of new things, or things he wasn’t sure of, began to fade. I tossed the spurs that I once needed to just get him moving. He would take the taps from the crop as reminders to use his shoulders, rather than bucking at the contact. 
His haunches strengthened. His back strengthened.
Finally we were able to canter under saddle. And then finally we were able to canter within one circle. And then finally, within a corner. And now finally, finally, Mozart can strike off a canter worthy of A-system showing. The canter progress in itself can tell his story so well. 
Where he once would be avoided in the barn aisle, he’s patted and scratched and loved on by everyone. When he would previously nip at any hand near his nose, he now licks and licks.
He would put his head up back away from the bridle nearly every ride.
He’d fidget and move at the mounting block.
He was always worked up and nervous riding outside of the arena.
He would kick out any time I asked him a new question.
He would panic at new challenges, he would just quit.
He would buck whenever it came time to canter.
He dives into his bridle every time I bring it out.
He walks right up to the mounting block, and places himself parallel. 
We ride loose-reined around the farm, and even show venues.
He responds to every question I ask him with his best answer.
He tackles challenges and helps me help himself get through his problems.
His canter these days, is a force to be reckoned with. 

Mozart was bred by an amazing woman named Gretchen Duff. He is the son to her late Thoroughbred mare, sired by a local Swedish Warmblood stallion. Gretchen had high hopes and big plans for the leggy colt she registered as ‘Music by Mozart’ It broke my heart not to have her ring-side at his first show. But I know she saw it. I always picture her, sitting on a cloud with her rain hat on, watching our trials and tribulations. Watching our victories and our breakthroughs. Watching her little Swedish boy becoming what I hope she had imagined he would be. Laughing and clapping her crooked fingers. We miss you so much, Gretchen!

It is thanks to God, Gretchen, and Kandis Horton that this guy is alive and well today.
Mozart has his first Recognized show this past month. The challenge included two days of intense riding, staying in a stall, and two sizable trailer rides. He expressed his worry the first day, but only in the form of a sticky right lead. We told him we understand that you are nervous, let’s break through that nervousness, because you can do this. And he agreed. Day two brought huge break throughs and victories for us as a team. It showed in our placing jump from 4th to 1st place, in our score jump from 57 to 64. And it showed in his awesome canter departs. For me, it showed just how far he has come, from a nearly broken down horse at only 7 years old, to a strong 9 year old with a shot at Championships.
And it’s not a long shot, either…