i. Allegro Maestoso ii. Adagio non troppo iii. Rondo: Tempo di Menuetto
In 1777 Mozart resigned from his first turbulent period of some four years as Court Composer to the Archbishop of Salzburg, Count Hieronymus Colloredo. Despite the fact that he had received a regular, although somewhat ungenerous, salary for one of the few times in his life he had felt stifled musically; longing to spread his wings he even found his movements restricted by the Archbishop, and in 1775 the Court Theatre had been closed, circumscribing his operatic ambition, although a compensation was the composition of his five Violin Concertos.
Eventually Mozart’s father Leopold would broker a return to working for the Archbishop in 1779, but the composer would remain discontented, eventually to be summarily dismissed in 1781, whereupon he moved to Vienna to set up as a freelance musician.
Following his resignation in 1777, however, Mozart had determined to travel to seek his fortune and set off with his ailing mother, first calling at Mannheim, where the orchestra at that time was possibly the finest to be found anywhere. Mozart was vastly impressed by the standard of orchestral playing and resolved to stay for a while to explore opportunities, but his first commission came from an unexpected source.
He was introduced to a Dutch doctor working in the Dutch East India Company named Ferdinand Dejean (variously ‘de Jean’ and ‘Deschamps’), who was an amateur flautist and offered to pay 200 gulden for Mozart to write three ‘short, easy’ flute concertos and four flute quartets. Apart from in an orchestral context the flute was not an instrument he had written for to date, having professed a dislike for the instrument, and he delayed starting on K313 until January 1778, earlier also downing tools after only two-and-a-bit quartets, K285, K285a and K285b (flute and string trio). Since he was normally a rapid worker, the time it took to fulfil even part of Dejean’s commission suggests a degree of reluctance; indeed a poem written to his mother mentioning the G major concerto expresses in scatological terms what he thought of the job, and this was compounded by the fact that to minimise his effort for the second concerto Mozart transcribed his earlier C major Oboe Concerto into D, K314. The Andante, K315, all that he wrote of a third concerto, is also thought to have been a possible alternative slow movement for K313. Dejean was not amused and paid Mozart only 96 gulden.
Nevertheless the works are attractive and purposeful and remain staples of flautists’ repertoire to this day. Certainly Mozart’s apparent reluctance is by no means reflected in the G major concerto. The work certainly does not treat the flute as a pretty and inconsequential instrument, but opens with a virile and athletic orchestral exposition, which is continued by the flute in kind. The movement follows a classic sonata form with rapid passagework often handed between flute and strings.
The Adagio non troppo bathes us in warm D major from the start, strings muted; first violins and orchestral flutes introduce the first theme, which is then reiterated and elaborated by the soloist.
The finale is an elegant Minuet, which in its episodes gives plenty of scope for both soloist and orchestra to embark on flights of fancy.