Page:The story of the flute (IA storyofflute1914fitz).djvu/159

 The flute does not take nearly so outstanding a part in Mozart's music as it does in that of Haydn. He hardly ever gives it a solo of any length or prominence. He does not consider it a necessary part of his orchestra: his first eight symphonies, and several others written quite late in life, and also his Requiem, have no flute parts. In each of his three great symphonies he only uses one flute. Apparently he shared the opinion of Cherubini, of whom it is related that once when a conductor, whose orchestra included only a single flute, complained piteously "What is worse than one flute in an orchestra?" the master replied laconically, "Two flutes"—meaning thereby that they are never in tune—or as the old German joke has it, "nothing is more dreadful to a musical ear than a flute concerto, except a concerto for two flutes." As a matter of fact, Mozart did not like the flute and had a profound distrust of flute-players, for the same reason as that given by the Greek, Aristoxenus, who complained that the flutes of his day were continually shifting their pitch and never remained in the same state. The only flautist whom Mozart seems to have liked was one J. Wendling, of whom he said, "He is not a piper, and one need not be always in terror for fear the next note should be too high or too