W.A.Mozart - Concerto for Flute and Harp in C major, KV.299

W.A.Mozart

 

 Concerto for Flute and Harp in C major, KV.299

Performers : Flute (Samuel Coles), Harp (Naoko Yoshino), English Chamber Orchestra (Conductor : Yehudi Menuhin)

I. Allegro 00:10
II. Andantino 11:00
III. Rondo : Allegro 20:14

 

The Concerto for Flute, Harp, and Orchestra in C major, K. 299/297c, is a concerto by Wolfgang Amadeus Mozart for flute, harp, and orchestra. It is one of only two true double concertos that he wrote (the other being his Piano Concerto No. 10; though his Sinfonia Concertante for Violin, Viola, and Orchestra could just as well be considered a "double concerto"), as well as the only piece of music by Mozart for the harp.[1] The piece is one of the most popular such concertos in the repertoire, as well as often being found on recordings dedicated to either one of its featured instruments.

History[edit]

Mozart wrote the concerto in April 1778, during his seven-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 eldest daughter, Marie-Louise-Philippine (1759–1796), a harpist, who was taking composition lessons from the composer, at the duke's home, the Hôtel de Castries. 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 for this work, and Mozart instead was offered only half the expected fee for the lessons, through de Guines' housekeeper. But he refused it. (For his tutoring, Mozart was owed six Louis d'or.) Little is known of the work's early performance history, though it seems probable that father and daughter played it first.[2]

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.[3] 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 particular 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. (Mozart perhaps also composed part of the concerto at his second Paris apartment, which was on the rue du Gros Chenet.)

The piece is essentially in the form of a Sinfonia Concertante, which was extremely popular in Paris at the time.[1] Today, the concerto is often played by chamber ensembles, because it is technically and elegantly challenging for both the solo instruments it calls for. It is also often played by orchestras to display the talents of their own flutists and 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.[4] 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 concert is scored for two oboes, two horns, solo flute, solo harp, and strings.

The soloists in the piece will sometimes play with the orchestra, and at other times perform as a duo while the orchestra is resting. 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:

 

플루트, 하프와 오케스트라를 위한 협주곡 다장조(Concerto for Flute, Harp, and Orchestra, K.299)은 볼프강 아마데우스 모차르트가 1778년에 파리에서 작곡한 협주곡이다. 플룻을 연주하던 귀느 공작과 하프를 연주하던 그의 딸(의 결혼)을 위해 작곡된 곡이라고 전해진다. 이 곡에서 하프는 화려하게 기교적인 글리산도를 들려주지는 않는다. 모든 악장에 카덴차가 있는 것이 특징이다.

 

구성은 다음과 같다.

• 알레그로 (Allegro)

전통적인 소나타 형식의 제시부에서 두 가지 테마를 즉시 발표한다. C장조의 제1주제는 바로 발표되고, 제2주제는 G장조이며, 플룻 연주로 시작된다. 이후 짧은 발전부가 들린다. 발전부가 끝난 후 재현부가 나타난다. 재현주에서는 제1주제뿐만이 아니라 제2주제도 C장조로 나타난다. 이후 카덴차와 코다가 즐겁게 나타난다.

• 안단티노 (Andantino)

F장조의 발전부가 생략된 소나타 형식으로 되어 있다. 제시부, 재현부 후에 카덴차가 들리고, 그 후헤 제1주제의 대한 코다가 있다.

• 론도, 알레그로 (Rondeau, allegro)

마지막 악장은 "론도"라고 불리니 당연히 론도 형식이다. A-B-A-C-A-B-A의 근대 론도형식이다. A가 3번째로 나타날 때 단조로 나타나는 것이 예외적이다.[위키백과]

 

At the end of March 1778, Mozart and his mother, Maria Anna, finally arrived in Paris after a prolonged stay in Mannheim (where Mozart had fallen in love with Aloysia Weber). on April 5 Maria Anna reported to Leopold (who had to remain in Salzburg) that Wolfgang had received a commission from the flute-playing Duke of Guines and his harpist daughter, who was taking music lessons from the composer. The commission, for a concerto for flute and harp, could hardly have inspired the young composer, who professed a dislike for both solo instruments and generally despised French musical taste, but he delivered the concerto dutifully. The combination of flute and harp, moreover, is a difficult one; "as a duo," notes writer Ethan Mordden, "they sound like a nymph going bonkers in a plashing spring." In spite of all this, however, the work is often played and is a perennial crowd-pleaser. Orchestras have few other opportunties to put their harpists on display in a concerto. Like almost everything else that happened on his trip with his mother to Paris, this concerto caused Mozart trouble; the Duke failed to pay the composer for it.

In its small forces (the orchestra has only two oboes, two horns, and the standard string ensemble) it is suited for the salon. In line with the standard concerto form, the two soloists wait for the orchestra to present the opening material of the first movement, then take it up in unison. The movement as a whole is most charming in the dialogue-like writing for the flute and harp and in its overflowing lyricism. The second movement is accompanied only by the string section (the violas are divided into two parts for a richer sound). It is warm, uncomplicated, and somewhat florid. The finale is a lively rondo with a veritable parade of attractive tunes. The concerto as a whole, notwithstanding its background, stands as one of the most pleasant mementos of Mozart's Paris sojourn, which would continue to reverberate stylistically through the rest of his output.