Mozart's flute quartets could stand alone as a prime example for the significant influence that publishers exerted over a composer's work. The Quartet K. 285 underwent key changes and movement substitutions under K. 285a, and additional key changes and perhaps author changes under K. 285b (the actual composer of these two movements is the subject of much debate). The version Mozart submitted for his actual commission contains one of his most sublime compositions for the flute -- the Adagio second movement of K. 285.
Beethoven wrote infrequently for the flute as a solo or chamber instrument. The Op. 25 Serenade is his most significant contribution to this literature and comes from a time in his output when he was experimenting extensively with varying instrumental combinations. In it, he explores the flute's virtuosic and musical abilities equally. As in the Mozart quartets, the flute is the predominant carrier of the melody, although Beethoven allows for more interaction with the other instruments. Flutist Lisa Beznosiuk creates a lovely, warm sound on her period ebony flute. The period string instruments accompanying her do an adequate job, but Beznosiuk is clearly the star. Her performance seems equally at home in both virtuosic passages of K. 285 and Op. 25, as well as the more singing, operatic writing of K. 298.
