Quartet in D major (Flute or Violin 1 Part)

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They were well received by Christian Cannabich, the director of the orchestra, and by the leading musicians at the Electoral court. Mozart became particularly friendly with the flautist Johann Baptist Wendling, who introduced him to the rich amateur flautist De Jean, a surgeon with the Dutch East India Company, who offered gulden for three short simple concertos and a couple of flute quartets.

Leopold Mozart found the news of some comfort. With this money some at least of the expenses of what he regarded as a disastrously long stay in Mannheim might be met.


Quartet for Flute, Violin, Viola, and Cello in D major, K. 285

The first of the commissioned quartets bears the date of 25th December and the second and third, K. It seems that he had paid Mozart the sum of 96 gulden for two concertos and three quartets. In a letter to his father Mozart claims to find the task distasteful, writing for an instrument that he cannot stand, and complains that 96 gulden is less than half what he is owed: The last we hear of the flute quartets from Mozart himself is in a letter that he wrote to his father from Nancy on 3rd October , as he made his slow return home from Paris.

He tells him that he has no copy of the quartets, because De Jean packed them in the wrong box, when he left for Paris, but that he will send them to Mozart later, from Mannheim.

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It seems probable that the Flute Quartet in A major, K. The evidence for this, in the absence of a date on the autograph, lies in the music. There are elements of an old French rondeau, 'Il a des bottes, des bottes, Bastien', used in Paisiello's opera of , Le gare generose, in the Minuet and Trio of the quartet, while the theme of the first movement has some resemblance to the song An die Natur by Franz Anton Hoff meister, dating from the same period.

The flute quartets of Mozart have great clarity of form and texture and are relatively undemanding. The D major Quartet, K.

Quartet for Flute, Violin, Viola, and Cello in D major, K.

The material is dramatically treated in the central development section, before the return of the first and second themes in the key of D. In the slow movement that follows the flute plays an aria in B minor, aocompanied by plucked strings. This leads to a final rondeau.

The second of the De Jean quartets, K. The second movement is marked Tempo di Menuetto and allows the flute a great measure of homophonic support from the rest of the ensemble. The third of the group, the Quartet in C major, K. The second movement is in the form of a theme and six variations.

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The first of these is in triplet rhythm, the second gives more prominence to the violin and the third to the cello, before the C minor fourth variation. The fifth is an Adagio and the sixth a sprightly Allegro. The A major Quartet, K.

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      Flute Quartet in D major, K. 285

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