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

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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-A178648FL
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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.
ISBN10: 8-88-852455-X
ISBN13: 979-8-88-852455-8
UPC: 676737737672
SKU: 36-A178648FL
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 spanned symphonies, concertos, operas, chamber music, and sacred works. He demonstrated compositional mastery across every genre he touched, often writing with specific performers in mind and tailoring works to showcase their strengths.

Mozart spent formative years traveling throughout Europe as a child prodigy performer and composer. His time in Paris from 1778-1779 proved creatively fertile despite personal frustration; it was during this seven-month stay that he composed the Concerto for Flute and Harp, K. 299, a commission from the Duke of Guînes and his harpist daughter. Though Mozart harbored reservations about both instruments individually, the work stands as a masterpiece of the double concerto repertoire and remains the only instance of harp in his orchestral writing.

Why we love this

This concerto offers orchestras a sophisticated vehicle for showcasing both flute and harp soloists without requiring a massive ensemble; the lean orchestration (oboes, horns, and strings) makes it accessible for chamber-sized orchestras while delivering full concertante drama. The work sits comfortably in the upper reaches of most orchestral seasons, providing a charming contrast to weightier repertoire and giving audiences something genuinely rare in concert programming.

What to expect

Graceful and conversational, with the flute and harp trading melodic ideas as if in an elegant dialogue. The work sparkles with Mozartean wit and charm while maintaining the formal architecture of a Classical concerto, balancing moments of lyrical beauty with passages of genuine brilliance.

Who it's for

Orchestra musicians and conductors seeking to feature strong flute and harp soloists in a work of genuine musical substance. This concerto suits chamber orchestras, youth orchestras with advanced soloists, and full orchestras looking to program something distinctive in the Classical concerto repertoire.

How to get the most out of it

  • Balance the two soloists as equal partners rather than favoring the flute; the harp should emerge as a true concertante voice, not merely harmonic accompaniment.
  • Shape phrase endings with the soloists' breathing in mind; even though harpists don't breathe, matching their natural phrasing with the flutist creates conversational elegance.
  • Maintain transparency in the accompaniment so the oboes and horns frame the soloists without obscuring either soloist's line.
  • Allow rubato in the solo passages while keeping the orchestra steady; this creates the intimate, chamber-like quality Mozart intended.

How to use it

Program this as a centerpiece work on a Classical-focused concert, or pair it with a Mozart symphony to create a compelling portrait of his orchestral language. Its moderate length and charming character make it an effective opener or the featured work of a pops or family concert.

Skills your students will build

  • Playing as an ensemble while supporting and balancing two independent soloists
  • Maintaining transparency in Classical orchestration with minimal forces
  • Accompanying passages that require sensitivity to rubato and solo phrasing
  • Understanding the concerto form and ritornello structure
  • Accompanying the harp in a symphonic setting (for string players)

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