After listening to these pieces, it is hard to believe that Mozart hated the flute, at least that what it said in the liner notes. It isn't important weather or not Mozart liked or disliked the flute. What is important is that he wrote these beautiful pieces for that instrument. The music on this disc, especially the Concerto for Flute and harp K.299, gliters with Mozart's enthusiasm and optimistic energy. Combine this with James Galway, Marisa Robles (the only harpist that I know of), and the expert Mozartean Neville Marriner, what you get is a great Mozartean experience.
Philippe Bernold, mozartien de la première heure, signe un manifeste de l'amour de Mozart pour la flûte, pour le plus grand plaisir des amateurs de la Grande Musique. Le Concerto pour flûte et harpe est une des oeuvres les plus populaires de la musique classique (plus particulièrement son deuxième mouvement). Quelque 250 ans après sa création, Philippe Bernold et Emmanuel Ceysson, invités à le jouer aux quatre coins du globe, nous livrent une version inoubliable captée par les micros de Nicolas Bartholomée. Un album qui sera sans aucun doute une référence absolue.
Mozart's music for flute always seems to cause a twofold reaction. On the one hand, the music is undeniably beautiful, balanced and just a little more than what could be expected from the "gallant" style. On the other hand, note-writers are at pains to point out that Mozart apparently did not like the flute as an instrument and that in the case of the Flute Quartets, two of the four have not even been proved to be genuine Mozart. I think this Accent CD makes a wonderful plea for this music despite the doubts of booklet author Pieter Andriessen. The music is taken "seriously" by the four performers, producing a stringent, but eminently lovely version, with not only Bart Kuijken in top form at the flute, but also with the three string players providing a sheer amazing amount of intelligent accompaniment in an acoustic which could hardly be more transparent and more pleasant to the ear. The age of the 1982 recording nowhere becomes apparent, the engineering is as superb as the playing - an absolutely crowning achievement within the Kuijkens' career as three of the foremost proponents of the "period performance" school.