To play the Mozart Flute Concertos successfully you must become several characters in a mini opera, demonstrate effortless mastery of the instrument, change moods and character in a flash, and do all this within a very ‘classical’ ethos. In short, you’ve got to play squeaky clean with an abundance ‘color’ and expressivity. One of the ways you can really help yourself toward this end, is to listen to his operas. Mozart’s understanding and love for the human voice is remarkable. And he transferred every bit of this affinity to his works.
The Flute Concerti.
The two Concertos, K.313 and 314, and the Andante in C, K. 315, were written in Mannheim in 1778 to fulfill a commission from a Dutch physician and amateur flute player, Ferdinand Dejean (1731-1797). This commission, arranged by the Mannheim Court flautist, Wendling, (Johann Baptist Wendling, 1723-1797), was for ‘three short, simple concertos and a couple of quartets for the flute’ for a fee of 200 gulden. After writing the first concerto, Mozart found that time was running out, so, in order to complete the commission, he transcribed his earlier Oboe Concerto in C into D major to make a second Flute Concerto. Of the two Concertos, the only surviving autographs are of the Andante in C and the solo oboe part of the Oboe Concerto, though there is doubt about the authenticity of the latter. It is likely that the Andante in C was written as an easier alternative to the second movement of the D major Concerto.
Period instruments: The exact kind of flute used by Wendling and Dejean to perform Mozart’s music is not known but it is assumed to be the one-keyed flute common at that time with four joints and an internal diameter of between 18.6mm and 19mm. However, for the Flute and Harp Concerto, The Duc de Guines, a former ambassador to London, surely used the six keyed English flute with it’s foot joint extension down to low C.
The Flute Concerti.
The two Concertos, K.313 and 314, and the Andante in C, K. 315, were written in Mannheim in 1778 to fulfill a commission from a Dutch physician and amateur flute player, Ferdinand Dejean (1731-1797). This commission, arranged by the Mannheim Court flautist, Wendling, (Johann Baptist Wendling, 1723-1797), was for ‘three short, simple concertos and a couple of quartets for the flute’ for a fee of 200 gulden. After writing the first concerto, Mozart found that time was running out, so, in order to complete the commission, he transcribed his earlier Oboe Concerto in C into D major to make a second Flute Concerto. Of the two Concertos, the only surviving autographs are of the Andante in C and the solo oboe part of the Oboe Concerto, though there is doubt about the authenticity of the latter. It is likely that the Andante in C was written as an easier alternative to the second movement of the D major Concerto.
Period instruments: The exact kind of flute used by Wendling and Dejean to perform Mozart’s music is not known but it is assumed to be the one-keyed flute common at that time with four joints and an internal diameter of between 18.6mm and 19mm. However, for the Flute and Harp Concerto, The Duc de Guines, a former ambassador to London, surely used the six keyed English flute with it’s foot joint extension down to low C.
Mozart’s ‘dislike’ of the flute: In a letter to his father on 14th February, 1778, Mozart wrote ‘Whenever I have to write music for an instrument I dislike, I immediately lose interest’ Mozart’s remark was coloured by the fact that Dejean had failed to pay him fully for the Concertos and Quartets he had commissioned and perhaps, too, Mozart had less enthusiasm writing for an amateur player. The flute, with its cross-fingered notes, gained a reputation for being played out of tune and that too may have affected his comments. Mozart’s remark has been widely quoted and exaggerated though he wrote some wonderful solos for the flute. His later orchestral works show no signs of his dislike for the instrument he reputedly loved to hate.
Performing Notes
Performing Style. As Franz Vester has pointed out, these works were written in a period when the late baroque style was in vogue..’this is dancing and talking music - not singing music’ Articulation is the language of music and its clarity, together with the use of the slur, is of particular importance to these Concertos. In eighteenth century music, a slur is a diminuendo...except sometimes (always that exception). The slur and all that a slur implies, governs the phrasing to a large degree. Flautists of this century have adopted a more romantic style with ‘long line’ phrases. It is common in these times to hear long, conceivably overlong cadenzas.
Performing Notes
Performing Style. As Franz Vester has pointed out, these works were written in a period when the late baroque style was in vogue..’this is dancing and talking music - not singing music’ Articulation is the language of music and its clarity, together with the use of the slur, is of particular importance to these Concertos. In eighteenth century music, a slur is a diminuendo...except sometimes (always that exception). The slur and all that a slur implies, governs the phrasing to a large degree. Flautists of this century have adopted a more romantic style with ‘long line’ phrases. It is common in these times to hear long, conceivably overlong cadenzas.
Ornaments. 
Ornaments serve to link notes together, to enliven a particular note or phrase, and to draw the listeners attention to them. Mozart wrote these Concertos during a change in ornamental style, so that it is particularly difficult for us to know exactly how the ornaments are to be played.
The two ornaments which concern us are appoggiaturas and trills.
Appoggiaturas: Accented appoggiaturas: these usually appear as a small note whose written value does not always indicate the rhythm to be played. In some editions the suggested rhythm is been shown above the stave on its first appearance; the performer should play the parallel places in the same way. Why didn’t Mozart simply write the rhythm he wanted played? Appoggiaturas indicate a special stress or a dissonance, or sometimes they draw the listeners attention to the note to which the appoggiatura is attached. It is a useful device and marks a distinct indication to the performer. How the appoggiatura is played is more important than its exact value. It always steals the emphasis from the note to which it is attached which follows softly. The appoggiatura is invariably slurred to its principal note....and a slur is a diminuendo!
Trills: All trills begin on the upper note...except sometimes! The exceptions are shown either by the omission of an auxiliary note, or by the inclusion of the lower auxiliary. Upper or lower- both are played on the beat. The trill begins on the lower auxiliary when it is approached from below after a scale passage and to give more finality at the end of a long section. When the trill is short one, particularly in the faster movements, it is unimportant whether it starts on the upper or principal note.
Mozart is quite clear about whether a turn should or should not be played at the end of a trill. Where none is written, none should be played. A turn has the effect of giving finality to the trill as in a cadence and in many cases, the trill is simply decorative and is not intended to indicate the end of a section.
Cadenzas.
These generally appear towards the end of the movement and are an opportunity to surprise and delight the audience and to encourage applause. The pause on the six-four chord is suspended and interrupted with scales and arpeggios until the appearance of the dominant seventh leading to it’s resolution. Contrary to popular belief, cadenzas were generally short, the reason is that a flute player can only play one note at a time and would have to break the harmony and melody to take a breath. Cadenzas, therefore, were kept to within one or two breaths to maintain the forward motion of the harmony. For an important competition on the other hand, the competitor would be wise to play the kind of cadenza the jury are accustomed to hear...
*In a short cadenza, it is not essential to quote from the thematic material.
*A cadenza should sound spontaneous.
*A cadenza should contain a surprise or two.
*If there is a cadential trill, then the orchestra, harpsichordist or pianist should play the dominant seventh chord half way through the trill to help carry it forward to the resolution.
*A cadenza does not have to start on the given note, nor indeed to end on the printed trill, or even end on a trill at all in which case, a reentry into the Concerto would constitute a surprise!
*Keep your cadenza simple to begin with and only modulate when you are more experienced in writing them, and only then, no more than two modulations in one cadenza
Write your cadenza with barlines; a cadenza doesn’t strictly need them but you will be more likely to plan it with the correct phrase lengths and with an overall shape.
If you are playing the concerto with the piano, put in the dominant seventh chord half way or part way through the final trill of the cadenza to help to maintain the forward movement. That chord is indicated in the Novello edition.
Play your cadenza spontaneously as if you are making it up as you go along.
Finally, be patient; don’t expect an immediate and brilliant result: only Mozart could do that.
Examples of cadenzas, and helpful hints on writing one are to be found in the Mozart Concertos and Andante, published by Novello
IMPORTANT: You practise to get good, fast! Combine other techniques into your tone, technique and scale sessions, such as vibrato, expression and breathing. The breathing indications in most pieces and studies are there for the amateur, the disabled, the elderly or for small people!. Really fill up your lungs and make long phrases when you practice. It won’t get better unless you do.
Regular practise is the only way. Progress becomes quicker when you practise the same things each day. Progress is greater when you practise at the same time each day too! This works after about two weeks. Get up earlier and start at 8.30 or 9.00. Then you are free to do other things during the day.
Listen to other players, or CDs. This will help develop your critical faculties.
Ornaments serve to link notes together, to enliven a particular note or phrase, and to draw the listeners attention to them. Mozart wrote these Concertos during a change in ornamental style, so that it is particularly difficult for us to know exactly how the ornaments are to be played.
The two ornaments which concern us are appoggiaturas and trills.
Appoggiaturas: Accented appoggiaturas: these usually appear as a small note whose written value does not always indicate the rhythm to be played. In some editions the suggested rhythm is been shown above the stave on its first appearance; the performer should play the parallel places in the same way. Why didn’t Mozart simply write the rhythm he wanted played? Appoggiaturas indicate a special stress or a dissonance, or sometimes they draw the listeners attention to the note to which the appoggiatura is attached. It is a useful device and marks a distinct indication to the performer. How the appoggiatura is played is more important than its exact value. It always steals the emphasis from the note to which it is attached which follows softly. The appoggiatura is invariably slurred to its principal note....and a slur is a diminuendo!
Trills: All trills begin on the upper note...except sometimes! The exceptions are shown either by the omission of an auxiliary note, or by the inclusion of the lower auxiliary. Upper or lower- both are played on the beat. The trill begins on the lower auxiliary when it is approached from below after a scale passage and to give more finality at the end of a long section. When the trill is short one, particularly in the faster movements, it is unimportant whether it starts on the upper or principal note.
Mozart is quite clear about whether a turn should or should not be played at the end of a trill. Where none is written, none should be played. A turn has the effect of giving finality to the trill as in a cadence and in many cases, the trill is simply decorative and is not intended to indicate the end of a section.
Cadenzas.
These generally appear towards the end of the movement and are an opportunity to surprise and delight the audience and to encourage applause. The pause on the six-four chord is suspended and interrupted with scales and arpeggios until the appearance of the dominant seventh leading to it’s resolution. Contrary to popular belief, cadenzas were generally short, the reason is that a flute player can only play one note at a time and would have to break the harmony and melody to take a breath. Cadenzas, therefore, were kept to within one or two breaths to maintain the forward motion of the harmony. For an important competition on the other hand, the competitor would be wise to play the kind of cadenza the jury are accustomed to hear...
*In a short cadenza, it is not essential to quote from the thematic material.
*A cadenza should sound spontaneous.
*A cadenza should contain a surprise or two.
*If there is a cadential trill, then the orchestra, harpsichordist or pianist should play the dominant seventh chord half way through the trill to help carry it forward to the resolution.
*A cadenza does not have to start on the given note, nor indeed to end on the printed trill, or even end on a trill at all in which case, a reentry into the Concerto would constitute a surprise!
*Keep your cadenza simple to begin with and only modulate when you are more experienced in writing them, and only then, no more than two modulations in one cadenza
Write your cadenza with barlines; a cadenza doesn’t strictly need them but you will be more likely to plan it with the correct phrase lengths and with an overall shape.
If you are playing the concerto with the piano, put in the dominant seventh chord half way or part way through the final trill of the cadenza to help to maintain the forward movement. That chord is indicated in the Novello edition.
Play your cadenza spontaneously as if you are making it up as you go along.
Finally, be patient; don’t expect an immediate and brilliant result: only Mozart could do that.
Examples of cadenzas, and helpful hints on writing one are to be found in the Mozart Concertos and Andante, published by Novello
IMPORTANT: You practise to get good, fast! Combine other techniques into your tone, technique and scale sessions, such as vibrato, expression and breathing. The breathing indications in most pieces and studies are there for the amateur, the disabled, the elderly or for small people!. Really fill up your lungs and make long phrases when you practice. It won’t get better unless you do.
Regular practise is the only way. Progress becomes quicker when you practise the same things each day. Progress is greater when you practise at the same time each day too! This works after about two weeks. Get up earlier and start at 8.30 or 9.00. Then you are free to do other things during the day.
Listen to other players, or CDs. This will help develop your critical faculties.
And that is "As I See it!"
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