Mozart's Clarinet Concerto Flashcards
(18 cards)
What is the form of the concerto? (2)
- It is in Rondo form
- A sections alternate with the contrasting episodes to create balance and symmetry
What is the overall structure of the piece? (1)
A, B, A1, C (with reprise of A and B), A2, A3
Which section is reprised and when?
The B section is reprised in the third A section
Describe the tonality of the different A sections (3)
- A is in the tonic A major
- the third A section (reprise in C) starts in D then modulates to the relative minor, Bm
- the final A sections are in the tonic A major
Describe the tonality of section B (4)
- begins in A major
- modulates to the dominant E major
- then to the tonic minor A minor
- then ends on the dominant chord ready to return to tonic for the second A section
Describe the tonality of section C (3)
- starts in relative F# minor
- modulates to subdominant D
- has a circle of fifths modulation where more distant keys are explored
Describe the tonality of the reprise of B (5)
- begins in A major
- modulates to tonic minor (A minor)
- then to C major (A minor’s relative major)
- then D minor (subdominant minor key)
- includes circle of fifths modulation
How is melody used in section A, the main Rondo theme? (5)
- starts with 2 semi-quaver anacrusis
- contains four 2-bar phrases
- has a 4-bar questioning phrase (imperfect cadence) followed by 4-bar answer phrase (perfect cadence)
- mostly conjunct
- occasional chromatic passing notes
Describe the melody of the solo clarinet sections (5)
- extremely virtuosic
- light accompaniment
- mainly scalic or arpeggiated
- explores the full range of the basset clarinet
- occasional ornamentation
What are the melodic features in section B? (7)
- more lyrical with longer 4-bar phrases
- NO anacrusis at the start
- uses appoggiatura
- more disjunct movement, triadic
- repeats melody octave below to give darker feel
- chamber music style
- countermelody in solo flute bars 77-81, where clarinet has descending sequence
What is the melody of section C? (7)
- lyrical like B (4-bar phrases)
- phrased legato
- begins on quaver anacrusis
- disjunct as triadic
- more chromatic than A and B
- repeats melody an octave lower like in B
- has an appoggiatura as well
How does Mozart use harmony in the piece? (3)
- based on strong tonic-dominant relationship
- chromatically altered chords used before the dominant to strengthen perfect cadences
- use of consonant harmony
Describe the texture of the piece (3)
- mostly melody and accompaniment
- contains imitative and contrapuntal texture in second B section
- harmonic chordal passages in second and third A sections
What is the tempo used? (1)
Tempo is allegro, no specific bpm
What is the metre? (1)
- In 6/8, or compound duple time
How does Mozart use rhythm? (3)
- A and C have anacrusis of 2 semiquavers/1 quaver, whereas B starts of first beat of the bar
- in the second A section there’s a hemiola
- pauses in B’s reprise furthering uncertainty in chromatic chords
Describe the dynamics and articulation of the piece (2)
- terraced dynamics like in baroque
- limited, includes p, f, sfp and cresc.
Describe the sonority (5)
- solo clarinet (basset), evolving and new instrument then
- string instruments, but quieter and lighter then
- horns used for pedal notes, tuned to A but with limitations
- flutes, featured solo
- strings would play divisi for a fuller sound
