So Rare. So Incredibly Beautiful. So Mozart.
In 1778, Mozart visited Paris for the second time. He found himself employed, partly, by a flutist— aristocrat to teach composition to his harp-playing daughter. She was, by Mozart’s account, a wonderful harpist and an awful composer. Her dad commissioned Mozart to write a concerto for the two of them—a combination now common, but then rare if known at all. In Mozart’s time, the harp was in its infancy—and was not today’s big, lush, projecting instrument but a quieter, more delicate, and fragile one.
Mozart never ended up getting paid for the piece (those French aristocrats!), and never wrote for the harp again. Too bad, because he to wrote some lovely music for it in this concerto.
In three movements, the piece features both the long-line capability of the flute, and the notey virtuosity of the harp. Of particular interest to me is the second movement where Mozart displays his opera chops so beautifully—-with gorgeous tunes, and a classical sense of drama and suspense. The last movement is, like the 6th Serenade last movement—a rondo.
For our performance of this concerto, we’ll feature the ACO’s very own principal flutist and harpist—Tina Apelgren and Kay Kemper. What a pleasure to put our own out in front and showcase the remarkable level of talent we have on our stage every time we play.
Of Mozart’s 40 something concertos—this is the only one for this rare and lovely combination—and this is a rare opportunity to hear this special masterpiece!
Come hear it live March 14 in Palm Beach Gardens, March 15 in Vero Beach and March 16 in Stuart.
