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Mozart - Concerto Flute and Harp. (DVD) ebook!

Mozart - Concerto Flute and Harp. (DVD) ebook!

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Published by Abhi Sharma
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 started; 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. The two instruments that Mozart is writing for here are fairly light in timbre, so he has chosen a light instrumental texture to set them against: an orchestra consisting of only two oboes, two horns and strings. In the very first phrase he makes sure that the harp's presence can be heard by asking it to use its defining effect, the arpeggio, that is, spreading 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.
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 started; 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. The two instruments that Mozart is writing for here are fairly light in timbre, so he has chosen a light instrumental texture to set them against: an orchestra consisting of only two oboes, two horns and strings. In the very first phrase he makes sure that the harp's presence can be heard by asking it to use its defining effect, the arpeggio, that is, spreading 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.

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Categories:Topics, Art & Design
Published by: Abhi Sharma on Apr 05, 2013
Copyright:Attribution Non-commercial

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06/07/2013

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Concerto for
Flute,
Harpand
Orchestrain 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:Tempodi
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 tacklethe
solo
concerto
(his
first
piano and
violin
concertos datefromthe
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
theMozart children in Frankfurt
on
18
Au·
gust 1 763 wasthefather
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
courtorchestra,
Johann
Baptist
Wendling,who arranged
a
commission
from
aDutch
amateur
player
by
the
name
of
De
Jean
to write
three concertos
and
twoquartetsfor
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
Fluteand Harp,
both popular
instruments
in Paris,
for
an
aristocratic
amateur,
the
Due
de
Guines and his
daughter
.
Fa
ct
s
While
at
work
(H'l
the
flute
concertos,
Mozart admittedto
h.is
father
that
"my
minciJ
gets easily dulled,
as
you know, when
lim
supposedA:o
write
a
lot for
at:l
in
strume~t
l can't stand".
The
flute
that
the
Duede
Guines played
hadan
extra
tail-joint
that
made
it
possible to play higher notes (in theconcerto's
first
and last movements) than found
in
Mozart's other
flute
music.
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r
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Duringthe1770s,
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 bothMannheim
and
Paris,
and
Mozart'sFlute
and
Harp Concerto falls into this category.A popular
expressiora
ira
fhe18th-censic
was
tme
French term
go/ant.
At th
C0ncen
o
it
had!
ceme
to
sigmify
pre
.izes this work.
if"
he
ga1ant
aspect
of
sort ofscathing dismissal expressftd too pretty, t0o
easy
om

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