Clarinet Concerto (Mozart)

The Concerto in A major, K. 622 for clarinet and orchestra by Wolfgang Amadeus Mozart is one of his last completed works (the last was the Little Masonic Cantata K. 623, completed on 18 November 1791) and his last instrumental work completed in the year of death of Mozart 1791. first soloist Anton Stadler, the world premiere took place in Prague.

Construction

The Clarinet Concerto in A major is divided into three sets. The first movement is an allegro. The second movement, Adagio, is found on many samplers and film music CDs. The third movement is a dance and virtuosic rondo in 6/8-measure.

Historical Background

The concerto was written between September 28 and October 7, 1791, just two months before Mozart's death. The design was, however, still further back. Approximately 1787 namely Mozart composed the Allegro. This was at that time not in A major, but in G major (K. 621b ), and was not intended for clarinet and orchestra, but for basset horn and orchestra. Basset horn was the second instrument Anton Stadler - a well-known clarinetists at the time - who was a close friend of Mozart. But then Mozart wrote to the sentence for basset clarinet and added in 1791 nor the Adagio and the Rondo added. On October 7, 1791, he orchestrated the Rondo, placed so that the concert finished and expressly noted on the same day that he has written for Stadler and his " bass clarinet ". This instrument was in 1788 by k.k. Court instrument maker Theodor Lotz invented and been improved by Stadler. Mozart's Clarinet Concerto is his only, which has been handed down for this instrument, and his last solo concert.

From Mozart's letter to his wife Constanze of 7/8 October 1791, after completing the writing of the Clarinet Concerto:

" 2 Parthia billiards. - Then I verkauffte by 14 duckaten my kleper - then I let me call the Primus and black koffe hollen by Joseph, I smoked a splended ipe of tobacco; I Instrumentirte almost all Rondó from Stadler. [ ... ] "

The original score is lost. The earliest complete source is the cast material published André 1801 in a version for A clarinet. In a review of the general musical newspaper of March 1802 the critic has the original music examples cited to prove this makeover. A list of these differences is included in the Eulenburg score.

The sentences

1st movement: Allegro (A major)

The Allegro is with its about 12 minutes, the longest movement of the concerto. The piece begins with the orchestral exposition, until bar 57 constitutes a clarinet soloist. The orchestral exposition is divided into three main themes, which in turn are divided into two small section topics. After the presentation of eight-bar first theme, which is played by the clarinet and the two violins piano, the first four bars are repeated forte, with flute and bassoon added.

In a new section to the second section topic accompaniment recalls the viola and cello in the still to the previous topic. In the main voices district now be played with semiquavers. In the accompanying voices predominantly prevail quarter, eighth and sixteenth motions. The frequently recurring motif is the motif in measure 16/17 [ repetition in stroke 343/344 ]. The issue is with a strong conclusion, which occurs at the end of each topic, ended.

In measure 25, the first section topic is taken up again, but continued differently. In all parts the first 1 ½ cycles are almost identical with the beginning, followed by an extension of the follow all voices. The violin II again repeated the previous cycle to continue playing the clarinet and violin I the subject. Viola and cello serve after topics beginning as accompanying instruments. This insert is reminiscent of a kind of canon. Violin II begins and is two strokes later viola and cello, and a clock later imitated by clarinet and violin I. Then there is a change of the main voices in violin II and viola that are supported in the slower part of the other instruments. This is the second section topic. Viola is supported by cello, and later of Bassoon, Violin II Violin I, clarinet flute. The subject is again terminated by this conclusion.

Then follows the third theme, which occurs several times throughout the piece in different voices. Here, a trill movement alternates with four and three -eighths from between clarinet with violin I and violin II. The other voices to accompany with Viola on eighth notes on the 1, 2, 3 and 4 stroke. Viola accompanied with sixteenths. Then drop off the first four eighths and only the trill motif is repeated alternately until it forms a kind of conclusion. Here ends the first part of the third subject topic.

In the second section the topic of the third theme, the main voices begin with an ascending half A- major triad into quarters and eighths. This scheme is repeated a third lower and goes into dotted eighth -sixteenth over with ( up to bar 52). This rhythmic pattern is repeated (with an eighth and quarter and eighth rest at the beginning ) and sixteenth motions. Only then does the solo clarinet one with the issue of clock 1. The three themes captured mostly at the piano, with an abrupt transition to the forte.

In addition, the clarinet gained a murky character on her second solo use. This is because the key from major to minor pivoted around (up to 98 clock ).

2nd movement: Adagio ( in D major )

The second movement is written in ternary form ( ABA form ). He is one of Mozart's most famous pieces and appears for example as film music in Out of Africa. The two-part, very cantabile 16 -bar main theme is first played by the solo clarinet and repeated by the orchestra. In the middle of the clarinet plays a leading role, followed by the repetition of the topic concludes with a coda.

3rd movement: Rondo: Allegro (A major)

The third movement is written in a free rondo form, which is schematically by A - can rewrite Coda - B - A ' - C - B' - A. The main theme in A major has fun and character of dance. After the first statement of the theme, a modulation is based on F-sharp minor, and the piece takes on virtuoso trains that experienced in the coda again a final increase.

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