Listening Journal for Classical Era, ft. Mozart (who else?!)

Mozart's Concerto for Flute and Harp, K. 299

Wolfgang Amadeus Mozart compositions are the epitome of music in the Classical Era. His music sounded simple, as themes were presented in an organized and predictable manner, yet there was a complexity and beauty that announced his genius to all that heard him play. As a child prodigy, he was able to travel throughout Europe and learn differing styles of music and eventually combined the best of these cultures into some of the most beautiful music of the 18th century. He is arguable the greatest composer of all time and provides a substantial amount of works to the classroom Canon.

Though all Mozart pieces are valuable to study, not all of them are included in the Canon, including his Concerto for Flute and Harp. This concerto is typical of the Classical Era with its three movements, ordered Allegro (fast), Andantine (slow), and the typical Rondo (fast). In fact, it was Mozart who set this as the standard form for concertos. Each section is eight to ten minutes long, making the concerto last approximately twenty-five minutes, and it features a solo flutist and harpist who play multiple themes that are constantly developed throughout the piece.

The first movement begins with the ensemble majestically stating the opening theme, followed by the introduction of the solo flutist and harpist. As the exposition continually highlighted thematic ideas, the contrasting dynamics stood out to me. Not only are they charming, but they also seem practical, as the harp is a quieter instrument and would be hard to hear over a fortissimo ensemble. The harp and flute playfully intertwine, as the two reply to each other using arpeggios and sequence patterns. Everything seems very neat, balanced, and organized, all typical of Mozart pieces. The second movement is slower, simpler, and more lyrical, with long, beautiful flute lines that are daintily varied by the harp. I especially enjoyed hearing some of the unique modulations, particularly whenever the harp embraced minor chords, an effect musicians don't often hear. The final Rondo movement begins as the ensemble and especially strings propel the tempo forward. We hear an Alberti bass accompaniment and lots of antecedent-consequent phrases, as we intuitively feel the end of the concerto coming. There are a few measures that are particularly delightful, as the harp and flute continually play a major 3rd apart.

Music always brings images to my head, and I especially enjoy when program music leads my thoughts in a specified direction. During this concerto, a story came to my mind. The first movement brings two playful girls (flute and harp) frolicking through a flowergarden in child-like wonderment. For hours they adventurously explore the garden and tell each other of the wonderful new flowers each has found. Eventually they are summoned to come inside by their mother, who is fearful they will ruin all the hard she has put into the garden. The second movement begins with the girls bounding inside, flopping onto the furniture, and lying exhausted from their adventure. They discuss the beauties and mysteries of the flower-garden, with one girl (the flute) especially giddy (full of trills) after the experience. The final movement picks up tempo, as the girls are now anxious to return to the garden and animatedly plead with their mother to let them go back outside. They excitedly tell mother how marvelous her garden is, and after all the adoring comments, she allows the girls to resume their adventure. The two girls skip out the door and back to their beloved garden.

I became interested in this piece after hearing the charming effects of the harp. Having little knowledge of the instrument, I was fascinated with its sound and balance against the rest of the ensemble. The harp, though large in size, seems like a coy instrument with many intricacies unknown to its listeners. It was very interesting to hear a solo harp leading a large ensemble, as it is a quiet instrument often used specifically for special effects. But, as heard in this piece, it makes a fine partnering instrument and has more to offer than the simple arpeggios and glissandos it provides for orchestras. I can also hear hints of virtuosity in the solo lines, though the harp's delicate sound leaves listeners more charmed than impressed with the abilities of the performer.

This pleasant concerto is not included in the Canon because it is just that - a plain, pleasant concerto. I agree with its exclusion from the Canon. There is nothing revolutionary about this piece, besides perhaps the showcasing of the solo harp in a concerto. If the harp were exluded from this piece, the work would seem quite ordinary and may have been even more neglected from the era altogether! But the harp is what makes this concerto unique. Had public preference for the harp risen during the 18th or even 19th century, this concerto may have popularized and received more study and appreciation, but to this day the harp has never become a prominent or ground-breaking instrument and lacked performers. For as long as the harp is neglected, this concerto will also be neglected. Mozart's Concerto for Flute and Harp may include all the characteristics of the Classical concerto, but it isn't anything more than a charming piece that will continually be overlooked until the harp becomes a more prevalent instrument.