Ibert Flute Concerto Program Notes For Faure
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Mozart (1756-1791) - Concerto for Flute and HarpWritingto his father from Paris (1778), Mozart described his fruitless attemptsto teach composition to the Duc de Guines' daughter (intriguingly, Mozartconsidered teaching music a “science”). His father suggested he persistpatiently, adding, “. Should Monsieur le Duc hear some little thingcomposed by his daughter, he will be beside himself with pleasure”.
Theimplication was “and surely be disposed to increase your fees”, for, intruth, the erstwhile child prodigy was having a torrid time, strugglingfor every penny. Mozart mentioned that “the Duc plays the flute incomparably,and she magnificently on the harp”. The Duc commissioned a concerto, affordingMozart another opportunity to rise in the Duc's estimation. Unfortunately,“estimation” was all: the Duc and his money were not soon parted, whileMozart and Money, it seems, would always mix like wax and water.The fluteand the harp are perennial favourites of the French (think of Ravel!),both supremely sensual in sound, both pure-toned and penetrating - theharp is as near as you'll get to a “plucked flute”. A combination madein heaven for which Mozart, being Mozart, would surely have written musicequally “made in heaven”. Is it heretical to suggest that he was not entirelycomfortable with this combination?
Ibert Flute Concerto Imslp
Certainly, it is beautifully craftedmusic, entirely characteristic of Mozart. Yet it sounds like a “Concertofor Flute and Piano” adapted for harp. So, don't expect any luscious harpglissandi (except possibly in the cadenzas, which Mozart didn't write).Unusually,all three movements contain cadenzas:1.Allegro No messing - the orchestra immediately deploys both themes(the second announced on horn) of a conventional sonata form.
These arere-worked by the soli, an orchestral bridge on the first subject descendinginto a brief but breezy development. Recapitulation, cadenza, and codafollow with pleasurable inevitability.2.Andantino Ushered in on strings, the subject's short phrases becomelyrically extended, these two facets promoting variations which alternatelighter and darker aspects, without either aspect dominating. The solibloom in the light of considerate orchestral accompaniment.
Ibert Flute Concerto Program Notes For Faure Sheet Music
Finally, acadenza leads to a coda where soli and orchestra dwell on the theme's lyricalside.3.Rondeau: allegro Unusually, the finale demands the most concentration.Mozart, I think, chose the only French marking not in deference to hiscommissioner, but to underline that this isn't a typical rondo.Unusually for Mozart's time, it's more like an arch: A-B-C-D-C-B- cadenza-A(coda),because C and D are merely prefaced with hints of A, adding spice to ouramusement, or should that be “bemusement”?That'sthree “unusually”s, an unusual number of “unusually”s for music once describedto me as “tedious”. It's surely a matter of expectations. Mozart wasn'tRavel, but taken on his own terms, you'll discover in his overlapping,weaving and intertwining of the unusual (again!) solo instruments all theenchantment that was ever his gift to offer.