The Concerto for Harp, Flute and Orchestra is a piece by Wolfgang Amadeus Mozart for flute, harp, and orchestra. It is one of only two true double concerto that he wrote, as well as the only piece of music that Mozart wrote that contains the harp[1]. The piece is one of the most popular such concerti in the repertoire, as well as often being found on recordings dedicated otherwise to either one of its featured instrument.s

Contents

History

The concerto was written in April 1778 by during his sojourn to Paris for the Court of Guines. It was commissioned (although never paid for) from Mozart, by the flautist Duke of Guînes, Adrien-Louis de Bonnières, and his harpist daughter who was taking composition lessons from the composer.[2][3]

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.[4]. 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.

One reason that this concerto is so popular, is because it is enjoyable for both the musicians to practice and the audience to listen to. Mozart composed the concerto with the audience in mind. The piece is essentially in the form of a Sinfonia Concertante, which was extremely popular in Paris at the time.[5]. 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 sounds more like an adaptation from piano[citation needed]. There are no full, rich glissandi, and although there is counterpoint in the harp part, it does not typically include lush chords. More harpistic effects are present in the cadenzas. Unusually, all three movements contain cadenzas. Typically, there is only one cadenza between the second and third movements of a concerto. Even more unexpected, Mozart did not write any of these cadenzas.[6]. A few popular cadenzas are often performed, such as the one by Karl Reinecke, but many harpists also choose to write their own cadenzas.

Form and Movements

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:

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 soli then re-work the already present themes.[7].

* 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 soli focus on the lyrical theme.[8].

* 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.[9].

Editions and Recordings

In addition to the numerous cadenzas performers have to choose from, multiple editions of this piece also exist. One such example is by the famous harpist, arranger, and composer Carlos Salzedo. He edits fingerings in the first movement, re-writes trills to make the music easier on the performer in the second movement, and divides most of the right hand part between two hands in the third movement.[10].

Many recordings of this piece are available. James Galway is a famous flautist who has performed and recorded this piece multiple times. He has worked with harpists such as: Fritz Helmis, Marisa Robles, and Ann Hobson Pilot.

Media

References

  1. ^ Briscoe, Doug. Program notes. Boston Classical Orchestra.
  2. ^ Symphony No. 31 in D major, K.297 (Paris). John F. Kennedy Center for the Performing Arts.
  3. ^ Horsley, Paul. Program notes. The Philadelphia Orchestra.
  4. ^ Salzedo, Carlos. "Editing Mozart's Flute and Harp Concerto”. American Harp Society. Vol. 18. No. 4, Winter 2002, p.33.
  5. ^ Briscoe, Doug. Program notes. Boston Classical Orchestra.
  6. ^ Ed. Rob Barnett. [1]. "Mozart-Concerto for Flute and Harp" MusicWeb International
  7. ^ Ed. Rob Barnett. [2]. "Mozart-Concerto for Flute and Harp" MusicWeb International
  8. ^ Ed. Rob Barnett. [3]. "Mozart-Concerto for Flute and Harp" MusicWeb International
  9. ^ Ed. Rob Barnett. [4]. "Mozart-Concerto for Flute and Harp" MusicWeb International
  10. ^ Salzedo, Carlos. "Editing Mozart's Flute and Harp Concerto”. American Harp Society. Vol. 18. No. 4, Winter 2002, p.33.

External links

Retrieved from "http://en.wikipedia.org/wiki/Concerto_for_Flute,_Harp,_and_Orchestra_(Mozart)"


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