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Mozart's Clarinet concerto in A major, K. 622 was written in 1791 for the clarinetist Anton Stadler. A clarinet concerto is a Concerto for Clarinet and Orchestra (or Concert band) This is a complete list of the works of Wolfgang Amadeus Mozart, listed chronologically. Year 1791 ( MDCCXCI) was a Common year starting on Saturday (link will display the full calendar of the Gregorian calendar (or a Common Anton Stadler ( 28 June 1753 &ndash 15 June 1812) was an Austrian Clarinet and Basset horn player for whom It consists of the usual three movements, in a fast-slow-fast form:

  1. Allegro
  2. Adagio
  3. Rondo: Allegro

The concerto is frequently described as 'autumnal' due to the lyrical Adagio and the emotive passages in minor keys in the outer movements. 2266-Tetramethylpiperidine-1-oxyl or TEMPO is the Chemical compound with the formula (CH23(CMe22NO 2266-Tetramethylpiperidine-1-oxyl or TEMPO is the Chemical compound with the formula (CH23(CMe22NO Rondo, and its French equivalent rondeau, is a word that has been used in Music in a number of ways most often in reference to a Musical form It was also one of Mozart's final completed works, and indeed his final purely instrumental work (he died in the December following its completion). The concerto is notable for its delicate interplay between soloist and orchestra, and for the lack of overly extroverted display on the part of the soloist (no cadenzas are written out in the solo part). In Music, a solo (from the Italian solo, meaning alone) is a piece or a section of a piece played or sung by a single performer An orchestra is an instrumental ensemble, usually fairly large with string brass woodwind sections and possibly a percussion section as well In Music, a cadenza (Italian for cadence) is generically an improvised or written-out ornamental passage played or sung by a soloist or soloists usually

Contents

Original version

Mozart originally wrote the work for basset clarinet, a special clarinet championed by Stadler that had a range down to low (written) C, instead of stopping at (written) E as standard clarinets do. The basset clarinet is a Clarinet, similar to the usual Soprano clarinet but longer and with additional keys to enable playing several additional lower notes As most clarinets could not play the low notes which Mozart wrote to highlight this instrument, Mozart's publisher arranged a version of the concerto with the low notes transposed to regular range, and did not publish the original version. This has proven a problematic decision, as the autograph no longer exists, having been pawned by Stadler, and until the mid 20th century musicologists did not know that the only version of the concerto written by Mozart's hand had not been heard since Stadler's lifetime. A pawnbroker is an individual or business entity that offers monetary loans in exchange for an item of value to the given pawn broker Musicology ( Greek: μουσική = "music" and λόγος = "word" or "reason" is the scholarly study of Music Once the problem was discovered, attempts were made to reconstruct the original version, and new basset clarinets have been built for the specific purpose of performing Mozart's concerto and clarinet quintet. Wolfgang Mozart 's Quintet for Clarinet and Strings, K 581 was written in 1789 for the Clarinetist Anton Stadler. There can no longer be any doubt that the concerto was composed for an extended range clarinet. [1][2] Numerous recordings of various restorations exist and some of the notable ones include Sabine Meyer with the Berlin Philharmonic, David Shifrin with the Mostly Mozart Orchestra, and Erich Hoeprich with the Old Fairfield Academy (notable for Hoeprich's use of a period-style basset clarinet based on Stadler's of his own manufacture instead of a modern-style instrument). Sabine Meyer (born March 30, 1959, in Crailsheim, Germany) is a German classical Clarinetist Meyer began The Berlin Philharmonic (in German: Die Berliner Philharmoniker) is an Orchestra based in Berlin, Germany. David Shifrin (born January 2, 1950) is an American classical Clarinetist.

In this context it is interesting to note that other works were written for Stadler and his instrument by composers closely linked to the Mozart-Stadler circle:

Premiere

The concerto was given its premiere by Stadler in Prague on October 16, 1791. Prague (ˈprɑːg Praha (ˈpraɦa see also other names) is the Capital and Largest city of the Czech Republic. Events 456 - Magister militum Ricimer defeats the Emperor Avitus at Piacenza and becomes master of the western Year 1791 ( MDCCXCI) was a Common year starting on Saturday (link will display the full calendar of the Gregorian calendar (or a Common Reception of his performance was in general positive. The Berlin Musikalisches Wochenblatt noted in January of 1792, "Herr Stadeler, a clarinettist from Vienna. A man of great talent and recognised as such at court. . . His playing is brilliant and bears witness to his assurance. "[3] There was some disagreement on the value of Stadler's extension; some even faulted Mozart for writing for the extended instrument.

First movement: Allegro

Originally written as a sketch for basset horn, the movement opens with an orchestral statement of the main theme. The basset horn or tenor clarinet (sometimes written basset-horn) is a Musical instrument, a member of the Clarinet family The theme is taken up by the soloist, and the music quickly takes on a more melancholy feel. At the end of this section, the pauses in the solo part are occasionally taken as a point to perform an eingang (cadenza). In Music, a cadenza (Italian for cadence) is generically an improvised or written-out ornamental passage played or sung by a soloist or soloists usually The main theme reappears transposed, and leads to the novel feature of the soloist accompanying the orchestra with an Alberti bass. Alberti bass is a particular kind of Accompaniment in Music, often used in the Classical era, and sometimes the romantic one Further development leads to dramatic turn, which, after a tutti, leads back into the main theme. Tutti is an Italian word literally meaning all or together. As a musical term it is used in various ways The Alberti bass and arpeggios for the soloist recur before the movement ends in a relatively cheerful tutti in A major.

The second half of the double exposition of this movement (frequently called by performers simply "the exposition" since it is the only part they play) appears on almost every professional orchestral clarinet audition.

Second movement: Adagio

Possibly the best-known part of this concerto, the beautiful and profound Adagio in aria form (or ABA) opens with the soloist playing the movement's primary theme. This article is about the musical term "aria" For other meanings or uses of the word see Aria (disambiguation. The descending notes of the answering theme are more elegiac, and are, like the first, repeated by the orchestra. The development, in which the solo part is always to the fore, exploits both the chalumeau and clarion registers, and is frequently performed with a final cadenza, which is often a section of the Larghetto of Mozart's clarinet quintet.

The first theme and its answer recur (the return of the A section), leading into a coda in which the calm mood of the movement is not once lost. Coda ( Italian for "tail" from the Latin cauda, see below is a term used in Music in a number of different senses primarily to designate

Third movement: Rondo: Allegro

The closing rondo has a cheerful refrain, with episodes either echoing this mood or recalling the darker colours of the first movement. It is a blend of sonata and rondo forms that Mozart developed in his piano concertos, most noticeably the A major Piano Concerto, K. 488. The Piano Concerto No 23 in A major ( K 488 is a musical composition written by Wolfgang Amadeus Mozart.

The opening refrain (bars 1-56) features the soloist in dialog with the orchestra, much more so than in his piano concertos. In many ways, this is a dialog of one-upmanship -- the more definitive the statement made by the orchestra, the more virtuosic the response by the clarinet.

The first episode (bars 57-113) features chromaticism and dramatic lines custom-written for the basset clarinet with its low extension. The refrain (114-137) is heard again in a slightly simpler manner, and the music modulates to F♯ minor.

The second episode (bars 137-187) contains "one of the most dramatic showcases for the basset clarinet in the entire concerto, featuring spectacular leaps, together with dialog between soprano and baritone registers. "[3] After this episode there is no refrain.

The third episode (bars 188-246) is a recapitulation of the first, but instead of a simple restatement, it modulates four times. This allows the soloist frequent opportunities to display impressive chromatic figurations, and the composer to demonstrate his creative genius in the reworking of the material.

The refrain (bars 247-301) is heard for the final time, exactly like it was presented in the opening, before proceeding to the coda (bars 301-353). Here the rondo theme is developed dramatically, using the full range of the clarinet. Mozart uses leaps, trills, and figurations. In the end, the more cheerful mood wins out, and the concerto ends with a tutti untouched by the melancholy seen elsewhere in the work.

Use in movies

The clarinet concerto has been used often in movies[4]:

References

  1. ^ Ness, Arthur (1963). The Original Text of Mozart's Clarinet Concerto. Cambridge, MA: Master's thesis, Harvard University.  
  2. ^ Adelson, Rob (Fall 1997). "Reading between the (Ledger) Lines: Performing Mozart's Music for the Basset Clarinet". Performance Practice Review Vol. 10 No. 2: 152-191.  
  3. ^ a b c Lawson, Colin (1996). Mozart: Clarinet Concerto. Cambridge, England: Cambridge University Press.  
  4. ^ Mozart in the movies

External links

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