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G Major Flute Concerto

W.A. Mozart
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12/2017

Analysis assignment of the 1st movement , Allegro maestoso of the G major flute concerto.
Wolfgang Amadeus Mozart (January 1756–December 1791) was one of the most
influential, popular and prolific composers of the classical period. He composed more than 600 works,
including, as we know, some of the most famous and loved pieces of symphonic, chamber, operatic, and
choral music.

“Music is my life and my life is music. Anyone who does not understand this is not worthy of God.”

– Wolfgang Amadeus Mozart.

About the G Major flute concerto

Throughout his career Mozart had a special feeling for the wind instruments. Not only did he
add a distinctive flavour to the wind band in his orchestral music –indeed, his writing for winds
became a defining and inimitable feature of his music – he also wrote compositions for wind
instruments he could not bear in solo setting was the flute. “ Then again, as you know, I get
quite put off whenever I have to write for an instrument I can’t stand”: this was the excuse he
sent to his father from Mannheim (letter of 14 February 1778), where he was staying at the
home of the Wendlings, a family of Mannheim musicians. There Mozart made the
acquaintance of a wealthy Dutchman (or, as he called him, an “India”) named Ferdinand
Dejean (1731-1797), who was also an amateur flautist, and agreed to give him “three small,
easy and brief little concertos and a couple of quattros for the flute.” But the commission was
destined to remain incomplete: the only flute concertos we know from Mozart’s are the
Concerto in G major, K.313, to which he later added the Andante in C major, K.315, and his
reworking of the Oboe Concerto in C major into the Flute Concerto in D major, K.314. Similerly,
the only flute quartet that might qualify as a “Quattro” for Dejean is K.285, this being the only
one known for certain to have been composed in 1778.

It was customary among the Mozarts to hand their commissioned works to the patron in the
form of copyist’s manuscripts and to keep the autograph scores for themselves. Whatever
happened in case of the Flute Concerto in G major remains unknown. Perhaps Mozart didn’t
have time to prepare a copy and gave Dejean the autograph score. Moreover, Dejean allegedly
packed the work in the wrong trunk before leaving for Paris, with the result that score was left
behind in Mannheim. As we know from his letters, Mozart asked his friend Wendling to
forward it to him, but we have no way of knowing whether he ever received it. In any event,
there is no extant it to him, but we have no way of knowing whether he ever received it. In any
event, there is no extant handwritten model for the first edition, published in 1803.

As in all the works that Mozart wrote on order for amateurs, the flute Concerto in G major has
just the right texture for the limited technical skills of its patron, as well as the fresh easy-going
character that distinguishes all of his music for dilettantes.
 Analyses

A-Primary/Ritornello Theme: G Major

B- Transition Theme Group (3 motives)

C- Secondary Theme: D Major later (e minor in the present picture)

D- Closing Material (2 motives)

Closing motif in preliminary exposition: orchestra Sequence of same motif during development : flute solo
As we can see in the following scheme, all the information presented above we can find trough
the whole movement. (I will finish this scheme!)

Scheme:

To consider the idiomatic aspects of Mozart's writing, it is important to also look at the technical
requirements in general. It is the experience of many great performers that Mozart's works are
difficult to perform well. This is certainly true for the flute works. The basic requirements for a good
performance are, a pure beautiful sound in all registers, a well-developed technique (such as precise
trills and grace notes, scales, arpeggios, phrasing and clear articulation), and the flexibility to change
colours to follow the changes of mood. Slurs and dots are used a lot in this flute concerto, creating
difficulties but making phrases more expressive, detailed, or flowing. The range of the flute is
exploited more fully, including contrasts of range. The lower notes do not speak as easily as the high
notes, requiring great control to make the passages with leaps work. There are also many passages
of scales that use the range of the flute from bottom to top. Because of Mozart's transparent writing,
all of the strengths or weaknesses of the player are exposed in this concerto. Since this concerto
reveals most the flute's language and problems, it is frequently used as an audition piece for flutists.

Yet in the midst of these difficulties, Mozart’s concertos for wind instruments show great subtlety to
the character and limitations of each instrument. A good example could be the beginning of the solo
flute starts (31-38).