Very nicely presented Cathy. I'll try to sit through one of those performances next time.Cathy Wilde wrote:........
Anyway, as one who played Mozart's G and D Concertos (plus segments of the C for Flute and Harp) in public performance (albeit many moons ago), I find plenty to recommend them, esp. from a player's standpoint.
For one thing, his concerti are VERY flute-friendly. Which is why they're mainstays of the repertoire. So don't think the guy didn't know what worked well on the instrument.
(And the various cadenzas you can attach to them (lots by other people -- do I remember Karl Stamitz penning a few?) are a blast.)
For another, Mozart had a terrific understanding of the flute's voice and that voice's abilities to induce various responses in the listener. As an example, I invite you to listen closely to any of Jean-Pierre-Rampal's recordings; the G in particular. If the slow movement doesn't make your throat tighten up in a couple of places, I'll be surprised. And then there are the flute parts in his orchestral pieces. In my experience, he sure didn't WRITE like he hated the flute ....
........
Finally, and most germaine to our purposes here:
I wouldn 't be surprised IN THE SLIGHTEST if the flutemaking industry did some heavy-duty evolution to accommodate Mozart's music and what followed it (i.e., the "sweeter" R&R. Could it be????!)
In other words ... ever stop to consider what those cool antique keyed flutes were designed to play before we started noodling around with Irish tunes?
So. I think Mozart's style & approach revealed yet more colors in the flute's tonal palette, advanced the playing of the instrument considerably, added to the repertoire, set new standards for technical ability and bravura (at least of that time), and quite possibly advanced the design of the instrument as well.
To me that counts for a LOT, whether you like him or not.
......
I am just being honest. His music repulses me. Stuffy European court music from the pre Romantic era. Ripping off traditioanl ethnnic themes from the country side and ensconcing and developing them in stuffy cake icing compositions for the audience of neurotic courtesans dripping with crusty talcum. Poof! You know, when the peasants had no bread they said "let them eat cake". I cannot even write doggerel about my revulsion for Mozart. Bias is not good for creativity I s'pose .........
But you have done well Cathy.
Jessie