mozarts clarient concerto

Question 1

Dynamics

Answer 1

• There is a balance between the orchestra and the soloist (forte and piano), so the solo part is never over whelmed.
• Mozart trusted Stadler to interpret his music and so did not write many dynamics on the solo part
• The orchestra is often piano (p) when the clarinet is playing and forte (f) during tutti sections.
• Crescendos and sfz’s are added to create colour and excitement

Question 2

Rhythm/Meter

Answer 2

Clarinet:

• Semiquavers are mostly in the clarinet part melody, so that the soloist stands out.
• Balancing out the semiquaver passages are more lyrical sections where mainly crotchet and quaver patterns are used.
• There are three key rhythms that help make this movement easily identifiable:
  a) A two-semiquaver anacrusis
  b) Three repeated quavers
  c) A long-short rhythm (either dotted crotchet to quaver or crotchet to quaver)

Accompaniment:
* Accompaniment parts balance the soloist rhythmically being either sustained, longer notes or repeated quavers.

• There are some passages of regular, repeated semiquavers in the string accompaniment.
• variety of rhythmic contrast (in the sections to keep the audience interest)

Overall:

• repeated rhythms (used in both the melody and accompaniment)
• compound rhythms (audience engagement with the feel of the rhythm)
• use of syncopation
• The metre is 6/8 which makes the music sound light and playful
• hemiola is used in the Codetta and Coda sections to build excitement towards the end of a section or the movement

Question 3

Structure

Answer 3

• The piece is the final movement of a concerto with three movements
• The overall structure of the movement is Rondo, but with some aspects of
  recapitulation that reference Sonata Form (ABACDA-Coda)
• Phrases are generally four bars long and balanced (periodic)
• The theme is constructed of question and answer phrases

Question 4

Melody

Answer 4

• Mostly, use of balanced 4 bar phrases
• use of both disjunct/leaps and conjunct/scalic/arpegios/triadic writing to show off solosists technique.
• use of onementation such as:
  -acciaccatura(s)
  -appoggiatura(s)
  -grace notes
  -trills (at cadence points)
• mainly diatonic but also uses of chromaticism
• use of sequence(s)
• original rondo theme which is developed throughout by changing register, and the addition of ornementation. (which keeps coming back for the audience to remember/relate to)

The following show off players technique
* Large pitch range of over 3 octaves
* Long phrases requiring stamina and breath control

Question 5

Instrumentation/timbre

Answer 5

Clarinet:

• The clarinet has varied articulation - staccato and legato.
• The clarinet was a ‘new instrument’ of the time (so had strong audience appeal)
• Virtuosic playing (which contrasts with slower moving sections)
• Clarinet is played in clarino, altissimo and chalumeau registers to show off its versatility and ability to jump between them frequently.
• The Concerto is for Clarinet in A, although it was originally intended for the Basset Clarinet. The Clarinet in A is a transposing instrument, which means that it sounds a minor 3rd lower than written and has a key signature of C major on the score.

Rest of orchestra:

• String techniques used are arco, double and triple stopping, tremolo.
• Contrast between soloist and tutti sections
• The orchestra is a small classical orchestra of strings (violin I, violin II, viola, cello, double bass), 2 flutes, 2 bassoons, and 2 horns.
• There are no oboes, trumpets, or timpani; Mozart leaves out the loudest, most piercing instruments so the mellow sound of the clarinet can be prominent.
• The strings play throughout the movement and mostly accompany in a chordal texture. The music for the cellos and double basses is very sparse, allowing the lower register of the clarinet to be heard. Violins do get the melody at times and often play in 3rds.
• The woodwind and horns mostly play when the clarinet rests, i.e. during the tutti sections, and when the music is loud. The woodwind pairs are often in 3rds and the horns are often in octaves. The flute does take over the melody briefly in the 1st and 3rd episodes.

Question 6

Texture + Tempo

Answer 6

Texture :
- melody and accompaniment thirds/3rds (clarinet and violin 1) with the acconpaniment mostly having chordal texture

• woodwind and strings mostly play in octaves with doubling frequent
• lots of textures used and jumps between them: monophonic, call and response, homophonic, unison (at tutti sections)
• An imitative texture is used occasionally to further develop the musical material

Tempo:
- The tempo is Allegro and constant throughout – apart from two important pauses

Question 7

Harmony/tonality

Answer 7

Harmony:

• Predominantly primary chords are used which give a strong stable background but with the added excitement of chromatic notes and added sevenths such as the use of the augmented 6th chord and diminished 7s
• There are three main cadences used in the movement:
  -perfect cadences are used to finish phrases, sections, and repeated frequently in the Codetta and Coda sections
  -imperfect cadences end the question phrases in the Rondo theme
  -There are also interrupted cadences found within the Rondo theme
• mainly diatonic harmonies (which were expected by the audiences of the time) but with the use of occasional chromatic harmony for added interest.
• Two main harmonic devices are used in this movement:
  a) pedal note
  b) sequence

Tonality:

• modulationsthrough a range of related keys

(starts in) (tonic) A major

(dominant minor) E minor

(dominant) E major

(tonic minor) A minor