Album available // Mozart: Concerto for Flute and Harp by Lily Laskine 🎧 Qobuz (Hi-Res) bit.ly/3wA09mF Tidal (Hi-Res) bit.ly/49WOoW4 🎧 Apple Music (Lossless) apple.co/4bYojHI Deezer (Hi-Fi) bit.ly/4c0vuPS 🎧 Amazon Music amzn.to/3P77hgN (Hi-Res) Spotify (mp3) spoti.fi/3P1nm7R 🎧 TH-cam Music (mp4) bit.ly/3IjpJ2b ❤🔊 Discover our Website (browse our catalog and download the world's best remastered editions) classicalmusicreference.com/ Wolfgang Amadeus Mozart (1756-1791) Concerto for Flute and Harp in C Major, K. 299/297c 00:00 I. Allegro (2023 Remastered, Paris 1958) 10:24 II. Andantino (2023 Remastered, Paris 1958) 19:48 III. Rondo: Allegretto (2023 Remastered, Paris 1958) Harp: Lili Laskine Flute: Jean-Pierre Rampal Recorded in 1958, at Paris New mastering in 2023 by AB for CMRR 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg 🔊 Follow us on Spotify: spoti.fi/3016eVr ❤ Support un on Patreon www.patreon.com/cmrr/about Mozart wrote the concerto in April 1778, at the age of 22, during his seven-month stay in Paris. It was commissioned by Adrien-Louis de Bonnières, Duke of Guînes, a flutist, for his own use and that of his eldest daughter, Marie-Louise-Philippine. In a letter to his father, Mozart remarked that he thought the duke played the flute "extremely well" and that Marie's harp playing was "magnificent." However, as a composition student, Mozart found Marie completely inept. The duke, whom Mozart came to despise, did not pay him for this work, offering instead only half of the expected fee for lessons, which Mozart refused. Little is known about the early performance history of the piece, though it seems likely that the father and daughter were its first performers. In the classical era, the harp was still developing and was not considered a standard orchestral instrument. It was viewed more as a plucked piano. Therefore, the combination of harp and flute was seen as extremely unusual. Incidentally, Mozart almost detested the flute and hardly appreciated the harp more. Composing the concerto was thus quite challenging for him. In a letter, he confessed, "I become completely powerless whenever I am obliged to write for an instrument which I cannot bear." And yet, despite the composer’s struggles, none of his efforts are evident in the piece; on the contrary, it presents itself as a gem of astonishing purity and naturalness. An undeniable success, the work has always enjoyed great popularity. The first movement is a graceful and energetic Allegro that opens with brilliant and commanding arpeggios, which the soloists take up after the orchestral introduction. The flute and harp seem to chase each other continuously with the carefree air of courtiers. This movement can easily be likened to the paintings of Boucher or Fragonard. The following Andantino overflows with lyricism and makes very fortunate use of the two soloists' combinations. The enveloping and caressing grace of the main theme in this magnificent section transports us to the sublime. As for the final rondo, marked Allegro, tempo di gavotta (gavotte, a moderately lively dance), it possesses an elegance and vivacity typical of the young Mozart's spirit. The orchestral winds also add a touch of original color to this delightful sonic tableau. Debussy - La fille aux cheveux de lin, Sonate flute alto harpe, Danses sacrée profane, Lily Laskine th-cam.com/video/VBcbQQ4xoxg/w-d-xo.htmlsi=AIAmK95xd0EUjzif Wolfgang Amadeus Mozart PLAYLIST (reference recordings): th-cam.com/video/VNOzyDR9YoE/w-d-xo.html
Mozart wrote the concerto in April 1778, at the age of 22, during his seven-month stay in Paris. It was commissioned by Adrien-Louis de Bonnières, Duke of Guînes, a flutist, for his own use and that of his eldest daughter, Marie-Louise-Philippine. In a letter to his father, Mozart remarked that he thought the duke played the flute "extremely well" and that Marie's harp playing was "magnificent." However, as a composition student, Mozart found Marie completely inept. The duke, whom Mozart came to despise, did not pay him for this work, offering instead only half of the expected fee for lessons, which Mozart refused. Little is known about the early performance history of the piece, though it seems likely that the father and daughter were its first performers. In the classical era, the harp was still developing and was not considered a standard orchestral instrument. It was viewed more as a plucked piano. Therefore, the combination of harp and flute was seen as extremely unusual. Incidentally, Mozart almost detested the flute and hardly appreciated the harp more. Composing the concerto was thus quite challenging for him. In a letter, he confessed, "I become completely powerless whenever I am obliged to write for an instrument which I cannot bear." And yet, despite the composer’s struggles, none of his efforts are evident in the piece; on the contrary, it presents itself as a gem of astonishing purity and naturalness. An undeniable success, the work has always enjoyed great popularity. The first movement is a graceful and energetic Allegro that opens with brilliant and commanding arpeggios, which the soloists take up after the orchestral introduction. The flute and harp seem to chase each other continuously with the carefree air of courtiers. This movement can easily be likened to the paintings of Boucher or Fragonard. The following Andantino overflows with lyricism and makes very fortunate use of the two soloists' combinations. The enveloping and caressing grace of the main theme in this magnificent section transports us to the sublime. As for the final rondo, marked Allegro, tempo di gavotta (gavotte, a moderately lively dance), it possesses an elegance and vivacity typical of the young Mozart's spirit. The orchestral winds also add a touch of original color to this delightful sonic tableau. ❤🔊 Discover our Website (browse our catalog and download the world's best remastered editions) classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg 🔊 Follow us on Spotify: spoti.fi/3016eVr ❤ Support un on Patreon www.patreon.com/cmrr/about
Bellísimo Concierto de Mozart con una interpretación excelente de ambos solistas. Es un placer escucharlos, muy buena la remasterización. Mis felicitaciones!
Lebhafte und wunderschöne Interpretetion dieses perfekt komponierten Doppelkonzerts mit mildem doch gut phrasiertem Ton der unvergleichlichen Soloflöte und schimmerndem doch warmherzigem Klang der ebenso unvergleichlichen Soloharfe sowie gut harmoniserten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Der intelligente und geniale Dirigent leitet das ausgezeichnete Ensemble im angemessenen Tempo und mit angenehmer Dynamik. Alles ist faszinierend!
Bravo, bravi. Maestro Rampal is one of my favorite classical musicians of all time. This Mozart piece is new to me, however, and I'm delighted to discover it. Mil gracias. Paz.
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Album available // Mozart: Concerto for Flute and Harp by Lily Laskine
🎧 Qobuz (Hi-Res) bit.ly/3wA09mF Tidal (Hi-Res) bit.ly/49WOoW4
🎧 Apple Music (Lossless) apple.co/4bYojHI Deezer (Hi-Fi) bit.ly/4c0vuPS
🎧 Amazon Music amzn.to/3P77hgN (Hi-Res) Spotify (mp3) spoti.fi/3P1nm7R
🎧 TH-cam Music (mp4) bit.ly/3IjpJ2b
❤🔊 Discover our Website (browse our catalog and download the world's best remastered editions) classicalmusicreference.com/
Wolfgang Amadeus Mozart (1756-1791) Concerto for Flute and Harp in C Major, K. 299/297c
00:00 I. Allegro (2023 Remastered, Paris 1958)
10:24 II. Andantino (2023 Remastered, Paris 1958)
19:48 III. Rondo: Allegretto (2023 Remastered, Paris 1958)
Harp: Lili Laskine
Flute: Jean-Pierre Rampal
Recorded in 1958, at Paris
New mastering in 2023 by AB for CMRR
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
❤ Support un on Patreon www.patreon.com/cmrr/about
Mozart wrote the concerto in April 1778, at the age of 22, during his seven-month stay in Paris. It was commissioned by Adrien-Louis de Bonnières, Duke of Guînes, a flutist, for his own use and that of his eldest daughter, Marie-Louise-Philippine. In a letter to his father, Mozart remarked that he thought the duke played the flute "extremely well" and that Marie's harp playing was "magnificent." However, as a composition student, Mozart found Marie completely inept. The duke, whom Mozart came to despise, did not pay him for this work, offering instead only half of the expected fee for lessons, which Mozart refused. Little is known about the early performance history of the piece, though it seems likely that the father and daughter were its first performers.
In the classical era, the harp was still developing and was not considered a standard orchestral instrument. It was viewed more as a plucked piano. Therefore, the combination of harp and flute was seen as extremely unusual. Incidentally, Mozart almost detested the flute and hardly appreciated the harp more. Composing the concerto was thus quite challenging for him. In a letter, he confessed, "I become completely powerless whenever I am obliged to write for an instrument which I cannot bear." And yet, despite the composer’s struggles, none of his efforts are evident in the piece; on the contrary, it presents itself as a gem of astonishing purity and naturalness. An undeniable success, the work has always enjoyed great popularity.
The first movement is a graceful and energetic Allegro that opens with brilliant and commanding arpeggios, which the soloists take up after the orchestral introduction. The flute and harp seem to chase each other continuously with the carefree air of courtiers. This movement can easily be likened to the paintings of Boucher or Fragonard. The following Andantino overflows with lyricism and makes very fortunate use of the two soloists' combinations. The enveloping and caressing grace of the main theme in this magnificent section transports us to the sublime. As for the final rondo, marked Allegro, tempo di gavotta (gavotte, a moderately lively dance), it possesses an elegance and vivacity typical of the young Mozart's spirit. The orchestral winds also add a touch of original color to this delightful sonic tableau.
Debussy - La fille aux cheveux de lin, Sonate flute alto harpe, Danses sacrée profane, Lily Laskine th-cam.com/video/VBcbQQ4xoxg/w-d-xo.htmlsi=AIAmK95xd0EUjzif
Wolfgang Amadeus Mozart PLAYLIST (reference recordings): th-cam.com/video/VNOzyDR9YoE/w-d-xo.html
Mozart wrote the concerto in April 1778, at the age of 22, during his seven-month stay in Paris. It was commissioned by Adrien-Louis de Bonnières, Duke of Guînes, a flutist, for his own use and that of his eldest daughter, Marie-Louise-Philippine. In a letter to his father, Mozart remarked that he thought the duke played the flute "extremely well" and that Marie's harp playing was "magnificent." However, as a composition student, Mozart found Marie completely inept. The duke, whom Mozart came to despise, did not pay him for this work, offering instead only half of the expected fee for lessons, which Mozart refused. Little is known about the early performance history of the piece, though it seems likely that the father and daughter were its first performers.
In the classical era, the harp was still developing and was not considered a standard orchestral instrument. It was viewed more as a plucked piano. Therefore, the combination of harp and flute was seen as extremely unusual. Incidentally, Mozart almost detested the flute and hardly appreciated the harp more. Composing the concerto was thus quite challenging for him. In a letter, he confessed, "I become completely powerless whenever I am obliged to write for an instrument which I cannot bear." And yet, despite the composer’s struggles, none of his efforts are evident in the piece; on the contrary, it presents itself as a gem of astonishing purity and naturalness. An undeniable success, the work has always enjoyed great popularity.
The first movement is a graceful and energetic Allegro that opens with brilliant and commanding arpeggios, which the soloists take up after the orchestral introduction. The flute and harp seem to chase each other continuously with the carefree air of courtiers. This movement can easily be likened to the paintings of Boucher or Fragonard. The following Andantino overflows with lyricism and makes very fortunate use of the two soloists' combinations. The enveloping and caressing grace of the main theme in this magnificent section transports us to the sublime. As for the final rondo, marked Allegro, tempo di gavotta (gavotte, a moderately lively dance), it possesses an elegance and vivacity typical of the young Mozart's spirit. The orchestral winds also add a touch of original color to this delightful sonic tableau.
❤🔊 Discover our Website (browse our catalog and download the world's best remastered editions) classicalmusicreference.com/
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
❤ Support un on Patreon www.patreon.com/cmrr/about
That Andantino is what I heard in my mind when I first met my ex-girlfriend.
@@artivism4068 I hope the memory remains pleasant for you...
One of my favorite Mozart compositions. And, yes, the second movement is a wonder!
Great performance, "old school" interpretation still has its merits
The old school is nearly always right
I call it good school.
One of the best from the composer.
Bellísimo Concierto de Mozart con una interpretación excelente de ambos solistas. Es un placer escucharlos, muy buena la remasterización. Mis felicitaciones!
Lebhafte und wunderschöne Interpretetion dieses perfekt komponierten Doppelkonzerts mit mildem doch gut phrasiertem Ton der unvergleichlichen Soloflöte und schimmerndem doch warmherzigem Klang der ebenso unvergleichlichen Soloharfe sowie gut harmoniserten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Der intelligente und geniale Dirigent leitet das ausgezeichnete Ensemble im angemessenen Tempo und mit angenehmer Dynamik. Alles ist faszinierend!
❤
Excelent restauration.
Thanks Jordan :)
Beautiful Harp sound...😊😊
Great remastering of a magnificent recording with great performances in this blissful concerto. Thanks!
You're welcome Frans :)
Bravo, bravi. Maestro Rampal is one of my favorite classical musicians of all time. This Mozart piece is new to me, however, and I'm delighted to discover it. Mil gracias. Paz.
Con mucho gusto, disfruta :)