W. A. Mozart - Flute and Harp Concerto K 299 C major
I. Allegro, 09:59 II. Andantino, 18:32 III. Rondo: Allegro
63. Ljubljana Festival www.ljubljanafe...
Slovenian Philharmonic String Chamber Orchestra www.drustvo-kgo...
First violin
Janez Podlesek - concert master
Vera Belič
Maja Savnik
Matic Anžej
Second violin
Oliver Dizdarević Škrabar
Žiga Cerar
Matjaž Porovne
Bojan Erjavec
Viola
Maja Rome
Maja Babnik Ravnikar
Tomaž Malej
Violoncello
Igor Škerjanec
Klemen Hvala
Bass
Petar Brčarević
Boris Bizjak, flute www.borisbizjak...
About
Mozart wrote the concerto in April 1778, during his six-month sojourn in Paris. It was commissioned by Adrien-Louis de Bonnières, duc de Guînes (1735-1806), a flutist, for his use and for that of his older daughter, Marie-Louise-Philippine (1759-1796), a harpist, who was taking composition lessons from the composer. Mozart stated in a letter to his father that he thought the duke played the flute "extremely well" and that Marie's playing of the harp was "magnifique". As a composition student, however, Mozart found Marie thoroughly inept. The duke (until 1776, the Comte de Guines), an aristocrat Mozart came to despise, never paid the composer the agreed amount for this work, and Mozart instead received half the expected fee through de Guines' housekeeper. And it is not at all certain whether the Duc de Guines and his daughter Marie ever actually played this concerto.
In the classical period, the harp was still in development, and was not considered a standard orchestral instrument. It was regarded more as a plucked piano. Therefore, harp and flute was considered an extremely unusual combination. Currently, there is much more repertoire for a flute and harp duo, especially without orchestra. Much of this repertoire was written by composers in the nineteenth century. Mozart's opinion of the harp, however, was perhaps dubious at best, for he never wrote another piece that employed it.
Mozart quite likely composed this work with the duke's and his daughter's musical abilities in mind. He probably composed the majority of this concerto at the home of Joseph Legros, the director of the Concert Spirituel. Monsieur Legros had given Mozart the use of his keyboard in his home so that he could compose. The piece is essentially in the form of a Sinfonia Concertante, which was extremely popular in Paris at the time. Today, the concerto is often played in chamber ensembles, because it is technically challenging for both instrumentalists. It is also often played in orchestras to display the talents of harpists.
The harp part appears to be more like an adaptation of a piano piece than an original harp part; this is especially evident in the patterns of five and ten notes throughout all three movements which would not fall under the fingers as easily for a harpist, as the fifth fingers are typically not used, though they were considered part of early harp technique[citation needed]. There are no full, rich glissandi, and although there is counterpoint in the harp part, it does not typically include lush chords. Mozart did not include any cadenzas of his own, as is normal for his compositions. Alfred Einstein claims that Mozart's cadenzas for this work were lost. A few popular cadenzas are often performed, such as those by Carl Reinecke, but many flutists and harpists have chosen to write their own. André Previn has also written cadenzas for this piece. The original manuscript of the Concerto for Flute and Harp still exists; it has been housed since 1948 in the Jagiellonian University Library in Kraków.
Analytics (from wiki)
In this concerto the soloists play main melodies with accompaniment of the orchestra, as a duo solo and tutti (all together the same melody). The flute and harp alternate having the melody and accompanying lines. In some passages, they also create counterpoint with just each other. Mozart concertos are standard in how they move harmonically, as well as that they adhere to the three-movement form of fast-slow-fast:
I. Allegro
The orchestra states both themes. The first is immediately present, and the second is introduced by the horn. Both themes fall under the conventional sonata form. The soloists then re-work the already present themes.
II. Andantino
The short phrases in this movement are introduced by the strings, and become lyrically extended. This further develops into variations on the theme. The cadenza in this movement leads to a coda, where the orchestra and soloists focus on the lyrical theme.
III. Rondeau - Allegro
The harmonic form is: A-B-C-D-C-B-{cadenza}-A(coda). Some music theorists feel that this is actually more of an arch than a typical rondo form, because music from the A section is still audible in the C and D sections.
3 окт 2024
