Link
The composer understandably chafed at having to write this music - the aforementioned (possible) four concertos and six quartets - for a merely competent amateur. But he was also an impatient young man, ready to conquer the world, with Paris in his sights. Thus, a series of rather implausible excuses, the most startling one contained in a letter from Wolfgang to Leopold: "You know that I become powerless whenever I am obliged to write for an instrument I cannot bear." Viewed in context, it seems little more than a slap at his overbearing father for failing to come up to his expectations. In light of the music that he did write on this occasion - and perhaps even more for the superb, indispensable flute parts in his piano concertos, beginning in 1784 with K. 453 and ending with K. 595, written in his last year of life - the remark can be dismissed. The flute was clearly a magic instrument for Mozart, as was every other instrument available, whether in a solo or ensemble capacity. Perhaps the full measure of the necessary flute-love had to wait until the Vienna years. But still, Mozart's unconvincing disclaimer has been taken at face value by putative Mozart scholars, picked up by the herd, and turned into one of those canards that simply refuses to stop quacking: "Mozart hated the flute."
Well, personally I’ve never really bought into Mozart hated the flute and when you listen to the following with the incomparable Pierre Rampal playing the Allegro maestoto of Mozart’s Concerto in G for flute it really is difficult to believe that Mozart “hated” the flute. The Concerto in G is simply one of the most beautiful pieces of music ever written for flute and an all time favorite of mine. Notice how much edge Rampal uses on his beautifully liquid tone but then you can hear him over the entire orchestra; he must really roll in…
And here is the rest (Adagio and Rondo).
