Concerto for Flute and Harp, K. 299/297c Cover Image

Concerto for Flute and Harp, K. 299/297c: Full Orchestra, Solo Instrument(s) with Ensemble

$65.00 USD
$65.00 USD
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Concerto for Flute and Harp, K. 299/297c Cover Image
Concerto for Flute and Harp, K. 299/297c: Full Orchestra, Solo Instrument(s) with Ensemble

Concerto for Flute and Harp, K. 299/297c: Full Orchestra, Solo Instrument(s) with Ensemble

By Wolfgang Amadeus Mozart

Item: 36-A178602
$65.00
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Description
Wolfgang Amadeus Mozart (1756-1791) was disdainful of the flute, and instrument of which he wrote at the time he "cannot bear," and he was indifferent to the harp. Despite this, during his seven-month sojourn in Paris, he was commissioned by the Duke of Guînes and flutist, Adrien-Louis de Bonnières to compose the double concerto for himself and his harp-playing daughter Marie-Louise-Philippine, to whom Mozart had been giving composition lessons. While he found each of their playing to be very good, and he likely wrote the piece with the father's and daughter's abilities in mind, he came to despise the duke as he refused to pay Mozart the commission fee and only half of what he was owed for his daughter's composition lessons. The utterly charming work, one of only two true double concertos that Mozart wrote, is among the most popular such concertos in the repertoire, and it is the only time Mozart employed the harp in his music. The work is often performed by chamber ensembles, for which its small forces make it very suitable) or orchestras seeking to display their own flutists and harpists. Instrumentation: 0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Soli Flute & Harp.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 676737736187
SKU: 36-A178602
Instrumentation: Detailed Instrumentation: 0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Soli Flute & Harp

More about this title

About the Composer: Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756-1791) was an Austrian composer whose prolific output across every major genre shaped the Classical period and continues to define concert life today. Born in Salzburg, Mozart spent his early years touring as a child prodigy across Europe before eventually settling in Vienna, where he composed symphonies, concertos, operas, chamber music, and sacred works that balanced technical brilliance with profound emotional depth.

Why we love this

This concerto occupies a rare space in the repertoire: a true double concerto by Mozart featuring instruments he famously disliked, yet the score reveals none of that resistance. The writing is idiomatically perfect for both flute and harp, the orchestral accompaniment is lean and elegant, and the overall charm makes it equally at home in an intimate chamber setting or as a showpiece for your orchestra's featured soloists.

What to expect

Graceful and intimate despite the orchestral frame, this concerto balances playful dialogue between the two soloists with moments of genuine lyricism. The music sparkles with Classical elegance; it is refined without being precious, entertaining without being trivial.

Who it's for

This work suits orchestras with strong solo flute and harp players, chamber ensembles seeking a high-profile double concerto, and conductors looking for a charming, accessible masterwork that showcases both soloists equally. It remains one of the most frequently performed double concertos in concert programming.

How to get the most out of it

  • Balance the flute and harp so both soloists remain audible without the flutist forcing above the ensemble; the transparency of Mozart's orchestration demands restraint from all players.
  • Shape the accompanimental string parts with forward momentum; the light textures require active ensemble playing rather than mere accompaniment.
  • Coordinate the cadenza passages between flute and harp carefully in rehearsal so the soloists can breathe together and the exchange feels conversational rather than mechanical.
  • Allow the harp's tonal character to bloom in the slower movement; it is easily covered and deserves space to sing.

How to use it

Feature this as a gala-opening work or a centerpiece for a classical showcase concert. Its modest orchestration and approachable character make it ideal for side-by-side programming with another Mozart concerto or symphony, or as a bridge between a Baroque suite and a Romantic concerto.

Skills your students will build

  • Balancing solo voices in chamber-within-orchestral textures
  • Reading flexible accompaniment that supports rather than doubles the solo line
  • Coordinating ensemble entries with extended solo passages
  • Maintaining transparency in light orchestration while sustaining forward motion

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