As oboe professeur titulaire at the Paris Conservatory from 1816-53, Gustave Vogt established his importance as a pedagogue by teaching many leading nineteenth century European oboists, and his influence can be traced to numerous living oboists. Additionally, Vogt played a seminal role in developing a virtuosic Romantic oboe style that paralleled the virtuosic styles developed for the more prevalent Romantic solo instruments, the piano and violin. His music is rarely played today, and Vogt remains a largely unknown figure even within the oboe community. The purpose of this study is to develop a critical edition of Gustave Vogt\u27s 4ème Solo de Concert suitable for performance by oboe and piano. This critical edition is based on an examination of nine sources, including four manuscript sources from the Bibliothèque nationale in Paris. In the process of discussing this edition, I will examine Romantic wind performance practices on which there is little written information. These performance practices include ornamentation and articulation
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