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Writing Intensively: Music History 352

Designed for posting listening journals for my writing intensive Late Music History course at UMKC.
S UNDAY, JANUARY 2 5, 2 009

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10 months ago

WA Mozart's Flute and Harp Concerto K299

A concerto for flute and harp? I didn't know there were any concertos for flute and harp. It must be Baroque, right? But wait! There's a K. 299 on the end of the title this concerto was written by none other than our beloved genius, Wolfgang Amadeus Mozart. It's true that many flute concertos were written in the Baroque era. Mozart, in fact, prolific as he was, wrote only three flute concertos, and only one with the harp. This particular concerto, K. 299, he wrote while in Paris in April of 1788. 1778 was a particularly difficult year in Mozart's life. His father, Leopold Mozart, had ordered him to leave Mannheim and go to Paris early in the year, where he was unhappy, a feeling unabated by music as he expressed in his letters that he despised French music. Soon afterward, Mozart's mother fell gravely ill, and died at the beginning of July. Mozart's father, who had been living in Salzburg at the time of the illness and death, wrote letters accusing his son of indolence, lying, and neglect of his mother (Mozart, Grove Music Online). Despite the turbulence of this period of Mozart's life, his flute and harp concerto is light and energetic. Written in C major with parts for two oboes, two horns, and strings, the concerto's themes utilize runs, arpeggios, and sometimes ascending and descending patterns of thirds. twenty-seven minutes. As was typical of other Classical era concertos, this work has three movements that alternate between fast and slow tempos. exemplifies a standard Mozart concerto form, adapted from the concerto form of his mentor, JC Bach. A closing theme used in these forms mimics the ritornello and betrays the relationship between Classical concerto forms and Baroque concerto forms. Allegro opens with a double exposition, in which the first, second, and closing themes are played by the orchestra and then expanded by the soloists. During the exposition, the flute takes most of the melody of the theme while the harp provides a harmonic structure with arpeggiated chords and scale patterns, only occasionally taking the melodic lead. instruments elaborate on the theme presented by the orchestra, working together to ornament and develop the melody, as was common for doubleexposition works. When the soloists expand the second theme, it is developed in the dominant key, G major. The orchestra accompanies the soloists through most of the exposition, but occasionally drops out to expose the solo or duet lines. When the development begins, the music shifts into an unstable key area, modulating through minor modes. Following the development section, the first and second themes return in the tonic key as the recapitulation. The flute and harp share a cadenza before the final repetition of the closing theme, though not as florid a cadenza as would later be seen in the Romantic era concertos. of the movement, Mozart seems to play a musical joke by bringing back the

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