Concerto for Flute, Harp and Orchestra in C major, K. 299 (297c) C-dur en ut majeur III 1. Allegro rn 2. Andantino []] 3. Rondeau: Allegro Cadenzas/Kadenzen/cadences: Carl Reinecke Wolfgang Schulz, flute Ni.canor Zabaleta, harp Concerto for Flute and Orchestra No. 1 in G major, K. 313 (285c) G-dur en sol majeur GJ 1. Allegro maestoso [] 2. Adagio ma non troppo [] 3. Rondeau: Tempo di Menuetto Cadenzas: Anton Gisler Werner Tripp, flute Concerto for Bassoon and Orchestra in B flat major, K. 191 (186e) B-dur en si. bimol majeur [I] 1.Allegro [] 2. Andante ma adagio liD 3. Rondo : Tempo di Menuetto Cadenzas: Dietmar Zeman Di.etmar Zeman, bassoon/ Fagott Wiener Philharmoniker KARL BOHM [27'44] [ 10 ' 2 7] [ 9 '10] [10'06] [ 27 '15] [9'39] [ 9 ' 4 3] [ 7 ' 53] [19'14] [ 7 'll] [ 7 ' 3 9] [4'24] The Music Mozart was 18 years old when he wrote his first surviving concerto for a wind instrument, the Bassoon Concerto K. 191, in June 1774. He had recently start-ed to tackle the solo concerto (his first piano and violin concertos date from the previous year). and it seems likely that the bassoon piece was written for one of the players in the Salzburg court orchestra. The two works involving flute were written during one of the turning points in the young Mozart's life, his fateful trip to Paris, chaperoned by his mother, between 1777 and 1778. Did you know? In the audience at a concert given by the Mozart children in Frankfurt on 18 Au gust 1 763 was the father of the German poet }ohann Wolfgang von Goethe. Stopping off in Mannheim, he made friends with numerous musicians, in-cluding the flautist in the famous court orchestra, Johann Baptist Wendling, who arranged a commission from a Dutch amateur player by the name of De Jean to write three concertos and two quartets for the instrument. Hav-ing torn himself away from Mannheim, and the girl he fell in love with there, Aloysia Weber, Mozart followed Wendling to Paris, where he was commissioned to write a combined Concerto for Flute and Harp, both popular instruments in Paris, for an aristocratic amateur, the Due de Guines and his daughter. Facts While at work (lH'l the flute concertos, Mozart admitted to h.is father that "my minciJ gets easily dulled, as you know, when lim supposedA:o write a lot for at:l in-s t r u m e ~ t l can't stand". The flute that the Due de Guines played had an extra tail-joint that made it pos-sible to play higher notes (in the concerto's first and last movements) than found in Mozart's other flute music. ;;;;; 4&6& 614 ;; & 5 U Bf&i4'r6 HH *MPiW NH86' i& r During the 1770s, an instrumental form known as the symphonie concertante came into fashion, descended from the old c0ncerto grosso for multiple instru-ments (like Bach's Brandenburg Concertos). It was particularly popular in both Mannheim and Paris, and Mozart's Flute and Harp Concerto falls into this category. A popular expressiora ira fhe 18th-cen sic was tme French term go/ant. At th C0ncento it had! ceme to sigmify pre. izes this work. if"he ga1ant aspect of sort of scathing dismissal expressftd too pretty, t0o easy om The Recordings Mozart at his most elegant in music for sophisticated amateur players of flute and harp, togetliier with the early concerto for bassoon. Givi.ng what the Pen-guin Guide described as "meltingly beal!ltiful accounts", the players of the solo cohcertos "perform witn the utmost distinetion under Bohm, who lets tine mu-sic unfold i ~ an unforce!li way, relaxed yet )/ital". Listening Guide Concerto for Flute, Harp and Orchestra in ( major, K. 299 The two instruments that Mozart is wr iting for here are fairly light in timbre, so he has chosen a light instrumental texture to set them against: an orchestra con-sisting of only two oboes, two horns and strings. In th e very first phrase he makes sure that the harp's presence can be heard by asking it to use its defining ef-fect, the arpegg io, that is, spread ing the notes of the chord. When the soloists enter alone with the same stately theme, the oboes and horns are kept out of the mixture to allow the f lute and harp maximum audibility. Elsewhere Mozart asks the strings to play plucked notes, a char-acteristic go/ant effect that ensures the accompaniment is not too overpowering. In the slow movement the oboes and horns are entirely silent, but Mozart en-hances the texture of the accompaniment by dividing the violas into two parts. (Along with other instruments, Mozart al-so played the viola, and he often provides interesting lines for this "Cinderella" of the orchestra.) In the final, busy Rondo, the separa tion of flute and harp from the oboes and horns makes the latter instruments start to sound like soloists themselves: listen to the oboes playing together with the flute and harp around the 3'10" mark, or the horns at around 7'15". www.mozartforever.com www.universalclassics.com 181m (K. 299) 181m Original-Image Bit-Processing (K. 191, K. 313) Recordings: Vienna, Musikverein, Grosser Saal, 58: 11/1973 (K. 191), 5/1973 8:4/1974 (K. 313), 5/1975 (K. 299) Produced by Werner Mayer (K. 299) Executive Producers: Dr. Ellen Hickmann (K. 191); Dr. Ell en Hickmann/Werner Mayer (K. 313) Recording Producer: Werner Mayer (K. 191, K. 313) Tonmei ster (Balance Engineers): Gunter Hermanns/Kiaus Scheibe (K. 191, K. 313); Gunter Hermanns (K. 299) Recording Engineers: Gernot Westhauser /Wolf-Dieter Karwatky (K. 191 ); Gernot Westhauser Wolf-Dieter Karwatky/Kiaus Behrens/Jurgen Bulgrin (K. 313); Volker Martin (K. 299) Editing: Jobst Eberhardt/Wolf-Dieter Karwatky (K. 191); Klaus Beh rens/Jobst Eberhardt Jurgen Bulgrin (K. 313); Jobst Eberhardt (K. 299) ---EMIL BERLINERSTUOIOS Mastered by Emil Berliner Studios 1974 (K. 191)/1975 (K. 313)/1976 (K. 299) Deutsche Grammophon GmbH, Hamburg Texts: Kenneth Chalmers Deutsche Obersetzung: Reinhard Luthje Traduction Dennis Collins 2005 Deutsche Grammophon GmbH, Hamburg Product Management: Susanne McBurney Booklet Editor: Jens Schunemeyer Art Direction: Philipp Starke Design: WAPS, Hamburg Cover Photo: Karina Schwarz Artist Photo: Siegfried Lauterwasser Illustrations: Musical conversation, drawing by J.E. Schenau (p. 6); Mozart as Knight of the Golden Spur (1777). anon. painting (p. 11) akg-images Printed in the E.U. Added By Abhi Sharma