In the Spring of 1778, an ambitious 21-year-old Mozart left his home in Salzburg on the hunt for permanent musical employment in Europe. Arriving in Paris he soon began teaching composition to Marie-Louise-Philippine Bonnières, a talented harpist and daughter of Adrien-Louis de Bonnières, the Duke of Guînes. The Duke was an exemplary flautist, and in April 1778 he commissioned a concerto for himself and Marie-Louise-Philippine to perform. The result… his Concerto for Flute and Harp in C major. His move to Paris was not a very lucrative or financially satisfying time for Mozart, and sadly this concerto became another of Mozart’s financial woes as the Duke never paid him for the work. If fact it is unknown whether he and his daughter actually ever performed it.
Flute and harp was an unusual instrumental combination to write a concerto for at the time, and the harp of 1778 was not the instrument we traditionally associate with the harp of today. It had certain technical limitations and as such this concerto lacks the glissandi and dramatic arpeggios familiar in modern harp writing; instead the harp part takes on almost piano-like gestures, an instrument for which Mozart wrote prolifically and loved. It could perhaps be said that Mozart was not the greatest admirer of the harp as this concerto is the only work he ever wrote to include it. He reportedly also was not overly fond of the flute as a solo instrument, but despite his tepid feeling towards both instruments, the concerto is elegant, lyrical, charming and joyous, and while being technically demanding for both soloists, it remains a firm favourite with musicians and listeners today.
Listen out for virtuosic flourishes, exuberant gestures and energetic melodies as Â鶹ԼÅÄ NOW’s Principal Flautist, Matthew Featherstone, and world-renowned harpist Catrin Finch perform this delectable work under the baton of conductor Chloé van Soeterstède.
Programme Note © Amy Campbell
