Once the solo concerto had been established early in the eighteenth century it attracted works for every conceivable melody instrument and gave artists the opportunity to display their musicianship in the fast growing sphere of the public concert. Unfortunately, a given artist could not always locate a suitable work for his instrument, and it became necessary for him to ‘borrow’ one intended for another instrument and adapt it, or have it adapted, for his own. Vivaldi made many such arrangements of his own works (oboe to bassoon; chamber group to flute and strings, etc.), and C P E Bach and at least one of his colleagues adapted some of his harpsichord concertos for flute or oboe or cello. Franz Krommer took a flute concerto and the present Oboe Concerto (Op 52) and arranged them for clarinet. Such reworking has usually necessitated adjustments to the basic orchestral parts; sadly, this, and the transition from one solo instrument to another, has not always been carried out expertly.