Mozart concertos are standard in how they move harmonically, as well as that they adhere to the three-movement form of fast–slow–fast: In addition to the numerous cadenzas performers have to choose from, multiple editions of this piece also exist. (Mozart perhaps also composed part of the concerto at his second Paris apartment, which was on the rue du Gros Chenet.). One such example is by the harpist, arranger, and composer Carlos Salzedo. The flute and harp alternate having the melody and accompanying lines. Mozart's opinion of the harp, however, was perhaps dubious at best, for he never wrote another piece that employed it. [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. 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. In some passages, they also create counterpoint with just each other. Much of this repertoire was written by composers in the nineteenth century. Concerto for Flute and Harp in C Major, K. 299: II. It is one of only two true double concertos that he wrote (the other being his Piano Concerto No. As a composition student, however, Mozart found Marie thoroughly inept. Mozart quite likely composed this work with the duke's and his daughter's particular musical abilities in mind. Mozart did not include any cadenzas of his own, as is normal for his compositions. 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. Salzedo, Carlos. It was regarded more as a plucked piano. [citation needed] The cadenzas composed by Carl Reinecke are the most commonly used to perform this piece. The concert is scored for oboe I and II, horn I and II, solo flute, solo harp, violin I and II, viola I and II, cello and double bass. [3], Many recordings of this piece are available. Concerto for Flute and Harp KV 299 (2nd movement) - YouTube Sinfonia Concertante for Violin, Viola, and Orchestra, International Music Score Library Project, Bassoon Concerto in B-flat major, K. 191/186e, Oboe Concerto in C major/Flute Concerto No. Andantino However, by doing this, Mozart's style has been somewhat lost, and some people have accused him of "changing Mozart", in consideration that this is one of his more popular pieces, and is often performed in standard classical repertoire. But he refused it. James Galway has performed and recorded this piece many times, with harpists such as Fritz Helmis, Marisa Robles, and Ann Hobson Pilot.

[3] Therefore, harp and flute was considered an extremely unusual combination. In the classical period, the harp was still in development, and was not considered a standard orchestral instrument. Currently, there is much more repertoire for a flute and harp duo, especially without orchestra. C 14.01, List of compositions by Wolfgang Amadeus Mozart,,_Harp,_and_Orchestra_(Mozart)&oldid=986277098, Articles with unsourced statements from November 2008, Articles with unsourced statements from May 2020, Articles with German-language sources (de), Articles with International Music Score Library Project links, Creative Commons Attribution-ShareAlike License, This page was last edited on 30 October 2020, at 21:19. The concert is scored for two oboes, two horns, solo flute, solo harp, and strings. He probably composed the majority of this concerto at the home of Joseph Legros, the director of the Concert Spirituel.

Mozart wrote the concerto in April 1778, during his seven-month sojourn in Paris. "Editing Mozart's Flute and Harp Concerto". The piece is essentially in the form of a Sinfonia Concertante, which was extremely popular in Paris at the time. 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]. 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.

André Previn has also written cadenzas for this piece.

[4] Alfred Einstein claims that Mozart's cadenzas for this work were lost. It is also often played by orchestras to display the talents of their own flutists and harpists. Little is known of the work's early performance history, though it seems probable that father and daughter played it first.[2]. Monsieur Legros had given Mozart the use of his keyboard in his home so that he could compose. There are no full, rich glissandi, and although there is counterpoint in the harp part, it does not typically include lush chords. [citation needed], Alexander Murray (flute), Ann Yeung (harp), Sinfonia da Camera, Concertos and other concertante works for. [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. Many professionals try to play the most original version of this double concerto, however due to a range of editions, this can be difficult. The soloists in the piece will sometimes play with the orchestra, and at other times perform as a duo while the orchestra is resting. 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. 2 in D major, K. 314/271k, Andante for Flute and Orchestra in C major, K. 315/285e, Concerto for Flute, Harp, and Orchestra in C major, K. 299/297c, Sinfonia Concertante for Four Winds (oboe, clarinet, horn, bassoon) in E-flat major, K. 297b/Anh. 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". (For his tutoring, Mozart was owed six Louis d'or.) A few popular cadenzas are often performed, such as those by Carl Reinecke, but many flutists and harpists have chosen to write their own.


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