Response to Ryan's Post on Mozart's Concerto in C for Flute and Harp

Overall, I think Ryan’s analysis of Mozart’s Concerto in C for Flute and Harp is penetrating and detailed, at least, in the description of the first movement. I also appreciate Ryan’s background information on the death of Mozart’s mother and his father’s accusations.
The solo instruments that Mozart has written this concerto for are an interesting combination. Of all the instruments that were used for performance in the Classical period, the flute and harp may be among the oldest in human civilization. They were not always in the same form, nor are they in the form now that they were in Mozart’s, yet there is something ancient and rustic about their sounds. The harp dates back over 5000 years to African and Mesopotamian roots. Bone flutes have been found with the remains of ancient civilizations all over the world. In this concerto, the flute especially reminds me of a pastoral environment. The timbre is so pure; one can almost feel fresh air in their nostrils. The harp also has a beautiful tone. Unfortunately, it’s hard to hear the full timbre of the harp when other instruments are playing. I do, however, appreciate the combination of harp and flute. They are different enough in their ranges, timbres, and technique that they compliment each other well.
The andantino movement has a very lovely character that at times brings out a Spanish flavor. It is at times like a florid waltz. The harp lines are similar to what I’ve heard of southern Mexico/Guatemala music. The Spanish often used the harp as a continuo instrument in the baroque and brought it to Latin America. Even to this day I would wager to say that the harp is more popular in Spanish-speaking countries than any others except in Africa. Even the eighth-note sweeps in the strings reflect the Spanish style. I have to wonder if Mozart intended this or if it is just a coincidence. As Ryan pointed out, Mozart was in Paris this year, and that may have had something to do with it.
I agree with Ryan’s reasons why this usually is not included in the canon. If there were as many harpists as there were keyboard players, I am positive there would be many concertos for harp. Another factor is the volume. The harp is such a quiet instrument that if there are too many other instruments playing the sound of the harp is buried. Even in the recording of this Concerto, only the attack is heard, and barely, when the flute and concerto grosso are playing. The solution that some composers have found is to have multiple harps, but of course, then you need multiple virtuosic harpists. It may be that the harp does not work well as a solo instrument in a concerto. It may also be that I need to listen to more harp concertos to really know if it can work. Nonetheless, I appreciate, artistically, what Mozart created with this work and feel that there may be more places to go with the flute and harp duo.