(1749 - 1801) was the most popular composer of comic operas in the last 20 years of the eighteenth century. This concerto was written when he was at the height of his powers and popularity. His opera Il matrimonio segreto had premiered that year and was the hit of Europe. It is commonplace but true to observe that this concerto has a melodic style and spirit evocative of opera buffa.
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The opening movement, Allegro, includes a succession of themes. The different styles of the themes give the two soloists a chance to show off their variety of technique, to deal with smooth, lyrical lines as well as darting staccato passages. The development section is less than ideal; seems to emulate the symphonic style of or rather than giving the flutes varied material. He tries for a bit too much seriousness and technique, with the result that the flutes tend to get submerged in the orchestral working-out of ideas.
The flutes return to the foreground in the second movement, an aria-like Largo in 3/4 time with frequent, fast flute figures over a moderately slow pulse. A half cadence leads without pause into the finale, marked Rondo: Allegretto ma non tanto. The movement is in a lightly dancing 6/8 time and has a jolly, relaxed mood that warms up as the flutes run through rapid series of sixteenth notes. Parts/Movements • Allegro • Largo • Rondo. Allegretto ma non tanto Appears On.