Mozart - Flute and Harp Concerto in C, K. 299 [complete]

its aiiight

Maravilhoso ouvir....

This composer also wrote a song called "Lick My Ass". Dude was gangster as they get.

Svirala sam na diplomskom ispitu

I love this! It made me have tears in my eyes ;)

Only from Deep heart of great Europe can comes this celestial music. .the cradle of civilization and culture. . Proud of this.

One of my favorite Mozart pieces. Glorious!

Ah good, it returned, I love this version and I thought I'll never be able to hear it again, thanks a lot

Classic FM brought me here!

From Baby Mozart

Nice! Who plays?

So much love and compassion in the 2nd movement…

The rondo is so fucking crazy oh my god, melody after melody it flows like oil. Can't believe my ears. This could only have been crafted by a true master of music. And obviously an incredible recording that brought out the best of this concerto.

Gosto muito de escutar Morzart,pois, para mim, é alegre, um jato de entusiasmo.

I am incredibly grateful to be alive with functioning ears, able to listen to this divinely crafted masterpiece.

Mozart and beethoven were so influential that they not only pioneered classical, but then also pioneered the origins of romantic music.

From Baby Mozart Music Festival

Mozart is a genius... He is..Not that he was! He is even today and for all time to come,

This is just very heartwarming and melodious! I cherish it all. Thank you so much for your goodness!

Quality of it sounds like James Galway and Marisa Roubles??

Oh my God... This gets more and more beautiful with years passing...

Some wonderful things end much too soon.

The flautist is Irena Grafenauer and the harpist is Maria Graf, with the Academy of St. Martin in the Fields, conducted by Sir Neville Marriner. Recorded in January 1988 for Philips Records, it was late reissued as part of Volume 9 of the Philips Complete Mozart Edition (Wind Concertos).

Mozart and god. What a beautiful combo

wow

Wow! Beautiful Amadeus pic! He's the divine, he's the invincible genious, he's the talent, he's the universe gift to all us, he's the only true father of r'n'r'!!!!!!!!!!!! When you are drop out, listen Amadeus and fight!

CORRIGENDUM: There is no cadenza in the finale.

What recording is this?

Comfort of Mozart’s music is immeasurable and beyond description

If I had a time machine, the first place I would go to is Vienna to see a Mozart performance. ETERNAL GENIUS!

Magic music from Heaven! Mozart alive forever! 🌹🌹🌹

Listening to this concerto which reminds me of one day in September 2003, when I enjoyed a Mozart concert at the Vienna Golden Auditorium, where I spent my most happiest moment. After the concert, I immediately sent a postcard to my parents telling them how lucky and excited I was to be able to sit in the concert hall and experience a Mozart concert in person.

“No story lives unless someone wants to know it…!” (…)
The Concerto for Flute, Harp and Orchestra in C major, K299/297c, is a concerto by Wolfgang Amadeus Mozart. It is one of only two true double concertos that he wrote (the other being his Piano Concerto No. 10; though his Sinfonia Cocertante for Violin, Viola and Orchestra could just as well be considered a "double concerto"), as well as the only piece of music by Mozart for the harp. The piece is one of the most popular such concertos in the repertoire, as well as often being found on recordings dedicated to either one of its featured instruments.
Mozart wrote the concerto in April 1778, during his seven-month sojourn in Paris. It was commissioned by Adrien-Louis de Bonnières, duc de Guînes (1735–1806), a flutist, for his use and for that of his eldest daughter, Marie-Louise-Philippine (1759–1796), a harpist, who was taking composition lessons from the composer, at the duke's home, the Hôtel de Castries, Mozart stated in a letter to his father that he thought the duke played the flute "extremely well" and that Marie's playing of the harp was "magnifique". As a composition student, however, Mozart found Marie thoroughly inept. The duke (until 1776, the comte de Guines), an aristocrat Mozart came to despise, never paid the composer for this work, and Mozart instead was offered only half the expected fee for the lessons, through de Guines' housekeeper. But he refused it. (For his tutoring, Mozart was owed six Louis d’or. Little is known of the work's early performance history, though it seems probable that father and daughter played it first.
In the classical period, the harp was still in development, and was not considered a standard orchestral instrument. It was regarded more as a plucked piano. Therefore, harp and flute was considered an extremely unusual combination. Currently, there is much more repertoire for a flute and harp duo, especially without orchestra. Much of this repertoire was written by composers in the nineteenth century. Mozart's opinion of the harp, however, was perhaps dubious at best, for he never wrote another piece that employed it.
Mozart quite likely composed this work with the duke's and his daughter's particular musical abilities in mind. He probably composed the majority of this concerto at the home of Joseph Legros, the director of the Concert Spirituel. Monsieur Legros had given Mozart the use of his keyboard in his home so that he could compose. (Mozart perhaps also composed part of the concerto at his second Paris apartment where he stayed with his mother, which was on the rue du Gros Chenet.)
The piece is essentially in the form of a Sinfonia Concertante, which was extremely popular in Paris at the time. Today, the concerto is often played by chamber ensembles, because it is technically and elegantly challenging for both the solo instruments it calls for. It is also often played by orchestras to display the talents of their own flutists and harpists.
The harp part appears to be more like an adaptation of a piano piece than an original harp part; this is especially evident in the patterns of five and ten notes throughout all three movements which would not fall under the fingers as easily for a harpist, as the fifth fingers are typically not used, though they were considered part of early harp technique. There are no full, rich glissandi, and although there is counterpoint in the harp part, it does not typically include lush chords. Mozart did not include any cadenzas of his own, as is normal for his compositions.
The concert is scored for two oboes, two French horns, solo flute, solo harp, and strings.
The soloists in the piece will sometimes play with the orchestra, and at other times perform as a duo while the orchestra is resting. The flute and harp alternate having the melody and accompanying lines. In some passages, they also create counterpoint with just each other. Mozart concertos are standard in how they move harmonically, as well as that they adhere to the three-movement form of fast–slow–fast, I. Allegro, II. Andantino and III. Rondeau - Allegro.
I. Allegro
The orchestra states both themes. The first is immediately present, and the second is introduced by the horn. Both themes fall under the conventional sonata form. The soli then re-work the already present themes.
II. Andantino
The short phrases in this movement are introduced by the strings, and become lyrically extended. This further develops into four variations on the theme. The cadenza in this movement, by the end of the fourth variation, leads to a coda, where the orchestra and soli focus on the lyrical theme. The key is in F major.
III. Rondeau – Allegro
The form of this movement is: A–B–A–C–A–B–A, a typical sonata-rondo form. The only minor difference to the standard sonata-allegro form is the third appearance of the "A" theme in the parallel minor. The concerto ends with three forte C major chords.
—Wikipedia

Mozart‘s music is a inspirational poem

Oh my goodness, Mozart🔥🔥🔥🔥🔥

Through Bluetooth the pitch wows up and down like a tired old vinyl player.

❤Nice ❤ Mozart FUNNY 😁

I fell in love with the begining of the second movement.

The most pure, sublime, beautiful music I have ever heard.