Concerto for Flute and Harp, K299
W.A. Mozart (1756-91)
Allegro; Andantino; Rondeau: Allegro
Marie-Adrienne, daughter of Adrien-Louis de Bonnières, Duc de Guines, was taught composition by W.A. Mozart. She also played the harp, and her father played the flute. The Duc commissioned this unusual concerto to show off the family’s skills, but the word ‘commissioned’ needs elastic interpretation because the music-loving aristocrat never paid up.
At the time of its composition, 1778, the harp was not included in orchestral works and nor was it endowed with the sophisticated pedal-work that characterises the modern instrument. Similarly, some of the special techniques associated with the harp had not been developed at that time. Because of this, we will hear no glissandi, no harmonics and very few chords. The solo harp part in this concerto has been likened to a piano part transferred straight from the keyboard to the harp, and there is some justice in this description. Within that context, the work contains many delights, and has won a loyal following, especially in recent years.
For the most part, the three movements follow a pattern typical of Mozart’s concertos. One unusual feature is the extent to which Mozart entrusts so much of the music to the two soloists, duetting away while the other musicians listen in. Another rarity is the inclusion of cadenzas in all three movements. They were not composed by Mozart. He simply left a gap for the soloists to fill as they thought best.
W.A. Mozart (1756-91)
Allegro; Andantino; Rondeau: Allegro
Marie-Adrienne, daughter of Adrien-Louis de Bonnières, Duc de Guines, was taught composition by W.A. Mozart. She also played the harp, and her father played the flute. The Duc commissioned this unusual concerto to show off the family’s skills, but the word ‘commissioned’ needs elastic interpretation because the music-loving aristocrat never paid up.
At the time of its composition, 1778, the harp was not included in orchestral works and nor was it endowed with the sophisticated pedal-work that characterises the modern instrument. Similarly, some of the special techniques associated with the harp had not been developed at that time. Because of this, we will hear no glissandi, no harmonics and very few chords. The solo harp part in this concerto has been likened to a piano part transferred straight from the keyboard to the harp, and there is some justice in this description. Within that context, the work contains many delights, and has won a loyal following, especially in recent years.
For the most part, the three movements follow a pattern typical of Mozart’s concertos. One unusual feature is the extent to which Mozart entrusts so much of the music to the two soloists, duetting away while the other musicians listen in. Another rarity is the inclusion of cadenzas in all three movements. They were not composed by Mozart. He simply left a gap for the soloists to fill as they thought best.