Mozart's Unfavorable Opinions on Certain Instruments

Wolfgang Amadeus Mozart, one of the most celebrated composers in history, had a particular disdain for certain musical instruments. His opinion on some instruments is reflected in his correspondences and his reluctance to compose for them. This article explores the instruments that Mozart did not favor and discusses the works he did create for these instruments.

Dislike for the Clarinet and Bassoon

Among the instruments that Mozart disliked, the clarinet and bassoon were prominent. Despite his disapproval, he still composed significant works for both instruments. One example is his Symphony No. 40 in G Minor, where the clarinet plays an important role. The bassoon, on the other hand, is featured prominently in the Requiem Mass as well as in other orchestral works. Mozart's hesitance to compose for these instruments highlights the limitations he perceived in their expressive range.

Strong Dislike for the Oboe

Mozart's feelings towards the oboe were particularly intense. In one of his letters, he referred to the oboe as a "curse." Although this statement strongly implies that he disliked the instrument, he still wrote numerous works for the oboe. His Clarinet Concerto in A Major (K. 622) is a prime example, as he transposed a piece originally intended for the oboe into a piece for the clarinet. This transformation showcases his ability to adapt and overcome his initial dislike, ultimately producing a masterpiece.

Disappointment with the Harp-Flute Combo

Mozart's dissatisfaction with the harp-flute duo can be seen in a letter where he expressed his dislike for the instrumentation. In spite of his reservations, he still composed a Concerto for Flute, Harp, and Orchestra in C Major (K. 299). This work, while not his most celebrated, demonstrates Mozart's willingness to fulfill commissions even when the combination of instruments was not to his taste. The concerto is noted for its beauty and technical complexity, a testament to Mozart's skill as a composer.

Antipathy toward the Mechanical Organ

Mozart was commissioned to write pieces for a mechanical organ, and he described the sound of the instrument as "shrill and childish." Interestingly, despite his reservations, Mozart managed to produce an excellent work, Adagio and Allegro for a Mechanical Organ (K. 594). This piece is often cited as an example of his ability to work within challenging constraints and produce a piece of high-quality music. The work is notable for its elegant musicality and technical brilliance, further affirming Mozart's legendary status as a composer.

Personal Confessions and Musical Overcoming

Mozart's relationship with the flute is a particularly interesting case. On one occasion, he received a commission for four flute pieces, but he only completed two, one of which was a transcription of an oboe piece. His correspondence suggests that he found writing for the flute to be difficult, yet he went on to compose several excellent works for the instrument, including the famous Fugue for Flute and Harp (K. 617) and the aforementioned Clarinet Concerto (K. 622).

There is a common belief that Mozart's dislike for the flute was rooted in his inability to perform particularly well on the instrument. However, this interpretation is disputed by musicologists who argue that he was merely grappling with the technical requirements of the instrument. Historical records show that Mozart often composed quickly and efficiently, and his dedication to producing works despite his reservations suggests a deep appreciation for the art of composition.

In conclusion, Mozart's opinions on certain instruments, such as the clarinet, bassoon, oboe, harp-flute combo, and mechanical organ, reveal his nuanced relationship with music. Despite his disapproval of specific instruments, his ability to transcend his initial reservations and create timeless works demonstrates his extraordinary talent as a composer.