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Mozart: Flute Concertos Nos. 1 & 2; Concerto for Flute and Harp
 : Mozart: Flute Concertos Nos. 1 & 2; Concerto for Flute and Harp

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from: EMI Classics


Availability: Usually ships in 1-2 business days

Price: $29.99
as of 12/14/2017 10:58 EST

Audience Rating: NR (Not Rated)
Binding: Audio CD
EAN: 0724355636522
Item Dimensions: 4555021494
Label: EMI Classics
Manufacturer: EMI Classics
MPN: 724355636522
Number Of Discs: 1
Number Of Items: 1
Publication Date: December 05, 2003
Publisher: EMI Classics
Release Date: July 08, 1997
Studio: EMI Classics




Disc 1:
  1. Concerto For Flute And Harp In C, KV 299: I: Allegro
  2. Concerto For Flute And Harp In C, KV 299: II: Andantino
  3. Concerto For Flute And Harp In C, KV 299: III: Rondeau (Allegro)
  4. Flute Concerto No. 1 In G, KV 313: I: Allegro maestoso
  5. Flute Concerto No. 1 In G, KV 313: II: Adagio ma non troppo
  6. Flute Concerto No. 1 In G, KV 313: III: Rondo (Tempo di Menuetto)
  7. Flute Concerto No. 2 In D, KV 314: I: Allegro aperto
  8. Flute Concerto No. 2 In D, KV 314: II: Adagio ma non troppo
  9. Flute Concerto No. 2 In D, KV 314: III: Rondeau (Allegro)
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Editorial Review:

Amazon.com:
Only the first of Mozart's two flute concertos, K. 313 in G, was actually written for the flute; the second, K. 314, originally in C, was written for Mannheim oboist Friedrich Ramm and reworked by Mozart to fulfill a burdensome commission. But flutists have long treated it as one of their own--perhaps on the grounds that some of the things Mozart is reported to have said about their instrument were unkind enough that they shouldn't have to suffer the additional humiliation of only one concerto from his pen. In any case, these two works, yoked to the Concerto for Flute and Harp in C, K. 299, make a nicely filled CD. That is the case with this 1996 recording, which features the talented, twentysomething first flutist of the Berlin Philharmonic, Emmanuel Pahud, together with the Berliners and Claudio Abbado. Pahud is an elegant player with exceptional technique and a French sensibility--just the ticket for this music. He is given a lot of presence by EMI's engineers, though not too forward a placement, and receives exquisite support from his BPO colleagues. High marks for tone and breath control, as well as for fluidity, agility, and overall musicality, if not for ornamentation and other performance-practice niceties. Even so, these are winning performances, and Pahud makes such a strong case for Concerto No. 2, you'd swear Mozart meant it for the flute all along. --Ted Libbey



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