Johann Peter Pixis was a concert pianist in Paris in the first half of the 19th Century. He wrote about fifty pieces, most of which used primarily piano. This piece has a nice triple feel during the Romance section, and in its entirety borders on the Romantic style.
The accompaniment is very simple during the oboe sections, only to take the reins of melodically as interludes,
as if taking turns with the oboe. The key shifts all over the place, from
G major to D major, into B minor, hinting at an F# minor key for a moment. Its chromaticism leads the music
key centers, yet always has a cadence toward the end to give the audience a chance to breathe. Sequences to odd keys are used to thwart expectations and create movement within the piece.
This music is far more chromatic than what came before, yet not to the extent of the modulations that will be used in the latter half of the century. As an early cousin of the Romantic lieder, this piece is beginning to take on the ideas of the song with a symbiotic relationship between voice and piano, including moments in which the piano strays from just chordal foundation and matches the soloist. Soon, the interdependence will be even greater.
I found the diversity in accompaniment interesting in this piece. It was clear from the virtuosic nature of the patterns and interludes that this is more a duet than a solo with accompaniment.