Page:The story of the flute (IA storyofflute1914fitz).djvu/162

Story of the Flute

Although the flute is not so much used in this opera as we should have expected from its title, the magnificent overture contains several important passages for the instrument. Skilfully written flute passages also occur in the overtures to Don Juan, Cosi fan Tutti, and L'Enlévement au Serail, in which, by the way, the piccolo part descends to low C♮ in Bretkopf and Härtel's edition—possibly this is meant for the flute only. In this opera the piccolo is much used (occasionally one in G), and is sometimes given quite florid passages; as also in The Magic Flute.

It will thus be seen that, notwithstanding his prejudice, Mozart scores for the flute very considerably; chiefly in rapid, bright passages. It is to be noted that he always uses the middle and upper registers; in fact, the lowest register is practically never used by

Haydn, Mozart, or Beethoven. Like the other composers of his day, Mozart rarely travels above F′′′.

Mozart has written two concertos for the flute—one was first performed by Cosel in 1774; the other was composed in 1778 for Deschamps, a rich Indian Dutchman who played the flute, and whom Mozart calls "a true philanthropist." Also a concerto in CHis
Concertos for flute and harp, a bright, melodious work with a fine andante. This last was written in 1770, when Mozart was at Mannheim, and had fallen in love with Aloysia Weber. The composer, though disliking both instruments, wrote the work at the request of the Duke de

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