Concerto for Flute in G, QV 5:174 Cover Image

Concerto for Flute in G, QV 5:174: String Orchestra Conductor Score

$35.00 USD

Concerto for Flute in G, QV 5:174: String Orchestra Conductor Score

Name: Concerto for Flute in G, QV 5:174: String Orchestra Conductor Score
Brand: Alfred Music
SKU: 36-A189701
Price: 35.00 USD
Availability: OutOfStock

By Johann Joachim Quantz, ed./arr. Christian Julius Weissenborn

Item: 36-A189701

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Concerto For Flute In G, QV 5:174 was composed in the mid-18th century (c. 1740s--1750s) by Johann Joachim Quantz (1697--1773), during his long service at the Prussian court in Berlin and Potsdam as flute teacher, composer, and advisor to King Frederick II ("Frederick the Great"). Written for the king himself--an enthusiastic amateur flutist--the concerto is composed in the refined galant style, tailored to the one-keyed flute of the period. This widely used 19th-century edition by Christian Julius Weissenborn helped secure the concerto's modern performance history by making it accessible to later generations of flutists. Today CONCERTO FOR FLUTE IN G remains a staple of the Baroque flute repertoire, frequently performed and studied. Instrumentation: Str (8.8.5.5.5 in set): Solo Flute in set. Reprint edition.

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Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

ISBN10: 8-898106-40-8

ISBN13: 979-8-898106-40-9

UPC: 605258910745

SKU: 36-A189701

Instrumentation: Str (8.8.5.5.5 in set): Solo Flute in set

More about this title

About the Composer: Johann Joachim Quantz

Johann Joachim Quantz (1697-1773) was one of the most influential flute composers and pedagogues of the 18th century. For over three decades, he served at the Prussian court in Berlin and Potsdam as flute teacher, composer, and musical advisor to King Frederick II, a serious amateur flutist who drove much of Quantz's creative output. His treatise on flute playing, published in 1752, became the definitive method of its era and remains essential reading for Baroque flute specialists today.

Quantz's compositional legacy rests largely on his flute concertos and chamber works, written in the elegant galant style that defined mid-18th-century court music. He composed over 300 flute concertos, most for his royal patron, making him a bridge figure between the Baroque and Classical periods. His music balances technical brilliance with lyrical grace, always mindful of the single-keyed flute's capabilities and limitations. This concerto exemplifies his skill at writing idiomatically for the instrument while maintaining the refinement expected at the Prussian court.

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Why we love this

Quantz's Flute Concerto in G sits at the sweet spot between accessibility and genuine musical substance. The galant style keeps the harmonic language clear and the orchestral writing transparent, so your string players can support the soloist without drowning in complexity. The Weissenborn edition has proven its staying power across generations of players because it respects the original while making the piece playable on modern instruments.

What to expect

The concerto unfolds with the refined charm of a royal court gathering. The flute sings with clarity and grace while the strings provide elegant accompaniment, creating an intimate conversation rather than a display of virtuosity. There's warmth in the galant style, a sense of controlled beauty that rewards careful listening without demanding emotional intensity.

Who it's for

String orchestras looking to program a genuine 18th-century concerto that doesn't demand professional soloists. This score works well for community orchestras, youth ensembles, and college programs that want to explore Baroque concerto form with a piece that's musically direct and playable on modern instruments.

How to get the most out of it

Balance the solo flute carefully in rehearsal. The piece was written for a small court ensemble, so avoid letting your string section overwhelm the soloist, especially in tutti passages.
Work with your flutist on the character of galant ornamentation. This style calls for elegance over virtuosity, so articulation and phrasing matter more than sheer speed.
Maintain steady, conversational tempos throughout. Quantz's court music values clarity of line over dramatic gesture, so resist the urge to push the tempo for excitement.

How to use it

This concerto pairs beautifully with other Baroque string repertoire or as a bridge between Classical symphonies and earlier works. Consider programming it in a concert exploring 18th-century court music, or use it to feature an accomplished amateur flutist. The piece works equally well as a first-half concert opener that sets a refined, welcoming tone.