Flute Quartets and Arias from ‘The Magic Flute’ feature chamber works for
Flute, Violin, Viola, and Violoncello, performed by Nancy Hadden, Catherine
Mackintosh, Jan Schlapp, and Sebastian Comberti respectively. Found on the CRD label,
the recording was produced in March 1990 at St. Paul’s Church in Southgate, London.
Works on the disc include the four W.A. Mozart flute quartets: Quartet in D, Quartet in
G, Quartet in C, and Quartet in A; and four arias from The Magic Flute: Movement:13,
Du feines Täubchen; Movement:6, Dies Bildnis ist bezaubernd schön; Movement:28, O
Isis Und Osiris; and Movement:66, Es siegte die Stärke.
It is generally believed that Mozart disliked the flute, though the precision and
sheer beauty that seems to have gone into the writing of these pieces reflects otherwise.
The classical flute was a one keyed instrument, imperfectly made with six finger holes
that were carved to fit the hands of the average player. As a result, many notes were
characteristically out of tune and the instrument was generally played poorly, which may
have been the reason for Mozart’s abhorrence for its sound. Too, the quartets on the disc
were written as part of a commission for an amateur Dutch flautist, H. de Jean; it is
believed to have taken Mozart a bit of time to finish the commission and as a result was
not paid immediately, which could also account for his flute bias. An overall analysis of
his compositions for the flute, however, show concern for expressivity and character in
playing.
Presented in a light sonata form, the opening movement of the Quartet in D Major
(K 285) highlights the flute above the string texture early on, a prevailing element
throughout the works on the disc. Using technically challenging scalar passages, the
instrument soars above the stringed instruments, playing a “basso continuo” role to the
soloist. Unfortunately, the flutist does not seem to really play into the trills and
ornamentation that characterizes Mozart’s flute writing. The second movement in the
relative minor highlights the range of the flute, though the performer executes these
jumps with ease. The string pizzicato accompaniment does not carry through well, which
is more than likely due to the quality of the recording. This movement is short and ends
abruptly, followed by an attacca into the final movement of the work. The closing is more
charming than the first two, highlighting more of the string voices that have more or less
acted as accompaniment to the flute. Strong contrapuntal interplay between the flute and
violin end the work in a more interesting manner than the first two movements have
provided.
The Quartet in G Major (K 285a) is not as bright and exciting as the previous
quartet, however the character of this work suits its tonality, at least in the excitability of
range in the flute. Written in the mid to lower range of the instrument, it contrasts well
with the violin, now able to soar above the ensemble in its full range. Again, it features
the lower strings in a perfunctory chordal foundation role. However, the viola
occasionally abandons this role in short solo passages that alternate with the flute. Mozart
introduces double stopping in the violoncello, adding an element of aural interest. The
second movement features string passages that are more melodic than previous
movements prior, in both this quartet and the opening of the recording. The overall
balance in writing between the flute and the string ensemble gives it appeal to both string
and woodwind aficionados.
It is clear to the listener that prevailing elements from the G major quartet are
found in the Quartet in C Major (K 285b). The opening movement begins abruptly, and is
written in a triple meter. The movement seems to be a continuation of the previous
quartet, almost as if this were originally intended to be the closing movement of it –
except, of course, it is written a fourth above it. What asserts this idea is the fact that the
second movement does not pair well with the first by any means. Perhaps, then, Mozart
had intended the second movement to be the opening of an entirely different work – but
never finished? The ornaments in the first movement, specifically in the flute, are carried
out much better compared to the earlier works. In its entirety, the ensemble seems to have
become more comfortable in playing with each other, and perform with more or a
classical fervor, rather than coming across as a modern chamber ensemble performing a
classical piece. Fanfare figures in the flute are well written and fit perfectly in the regal
character of the piece.
Nicknamed “the miniature quartet,” the Quartet in A Major (K 298), and begins
with a charming theme and variation. The cellist is featured throughout the entire
movement, breaking from its continuo role in previous works, and performs lovely and
melodic counter-themes. This new soloistic role of the cello continues into the second
movement, engaging in melodic counterpoint with the flute. The viola, then, takes the old
role of the cello, and sustains accompaniment harmony. The quartet closes with a
movement that involves all four of the ensemble voices relatively equally, a feature not
encountered in the works prior. Its melody is believed to have been “borrowed” from
fellow Viennese composer Paisello. Overall, the harmonies in this quartet seem quite
ordinary, and the flute part is not as domineering as in the other quartets, which is quite
refreshing.
The selections from The Magic Flute (K 620) offer a refreshing change and
balance to the disc contents, though many elements of the quartets are found in this set of
chamber works as well. The four arias featured were arranged by F. H. Ehrenfried in
1793. The brief Du feines Täubchen is characterized by briskly moving figures in the
strings contrasted by a light and airy flute melody. Originally a tenor aria, the melody of
Dies Bildnis ist bezaubernd schön is performed wonderfully by the flutist, with perhaps
the most care and character encountered on the recording. The strophic aria O Isis Und
Osiris is a lovely interlude in a triple meter, featuring the gentle melody in the flute which
is accompanied by rich harmonies and suspensions in the string trio. Finally, Es siegte die
Stärke begins with rousing sixteenth note string passages paired with a vibrant flute
melody, and ends strong with three final chords on the tonic.
As a collection of chamber music, the selections are a good combination and
make for a well put together disc. Obviously the works have extended appeal to flutists,
though any fan of Mozart’s chamber music would appreciate these fine works. Too, the
order in which the quartets, followed by The Magic Flute selections add quality to the
recording, and the ensemble seems to get better and better as the disc plays on.
Unfortunately, the sound quality of the recording does not, which is of course no fault of
the performers.
A fuzzy, shaded sound prevails throughout the entirety of the recording; this may
or may not have been caused by the open space of the recording site. The recording was
not performed on period instruments with the exception of the transverse flute; still,
balance within the quartet maintained throughout the recording. The ensemble
maintained a good blend, and played very well in tune with each other. The sound
emitting from the left and right speakers is reversed – a chamber ensemble of this sort
would not be seated with the top voices on the right side of the stage – as a result, the
recording lacks a “live audience” quality. Overall, the flute is much louder than the rest
of the quartet, and it seems that extra microphones were used during the recording, or the
sound was artificially brought up in editing. As a result of this careless sound editing, the
violin is generally “drowned out” throughout the entirety of the disc.
The presentation of the disc, unfortunately, is a bit troubling; frankly the cover art
seems to be an attempt at classical caricature perhaps, but comes across as quite flaky. A
man wearing a skirted tunic playing the transverse flute does not exactly spark my
interest at first glance, but I suppose that some people find that sort of thing charming. In
its defense, most classical recordings are no different. There are a number of recordings
in publication that contain all four of the Mozart flute quartets – probably one that has
been recorded in better surroundings than this one. However, the inclusion of selections
from The Magic Flute adds to the uniqueness of this particular recording. It is a decent
compact disc, but could be better in terms of performers and sound quality.
REFERENCES
Bowers, Jane (1994). Mozart and the Flute. Early Music, 20(1). Retrieved November 4,
2005, from JSTOR database.
Mozart, W.A. (1998). Quartette fur Flote, Violine, Viola und Violoncello. Muchen:
Henle.
Ward, Martha K (1954). Mozart and the Flute. Music and Letters, 35(4). Retrieved
November 4, 2005, from JSTOR database.
Salzman, Eric (1992). Mozart: Flute Quartets. Stereo Review, 57(9). Retrieved November
10, 2005, from Expanded Academic ASAP database.