1. Mozart’s Clarinet Concerto A Major, K662

2. Wolfgang Amadeus Mozart 1/27/1756- 12/5/1791
1/27/ /5/1791
Born to a talented and musically dedicated family, in Salzurg, Austria.
Father Leopold, mother Anna, and one living sister, Maria Anna.
Wolfgang Amadeus Mozart was born January 27, 1756 to father Leopold and mother Anna Mozart in Salzburg, Austria. With only one living sister named Maria Anna, who was four years older than he, the children both displayed promising musical talent.

3. Early Years of Mozart
Accomplished the violin, harpsichord and started composing music by the time he was five years old.
Mozart’s Family toured Europe in 1762 for many years for various events and people. His musical career began to take shape.
At 9 yrs old he began to compose symphonies while on an extended tour with his family.
he toured Italy and created two of his more famous operas 'Lucio Silla' and 'Mitridate', wrote a group of string quartet and a few symphonies.
He accomplished the violin, harpsichord and started composing music by the time he was five years old. Mozart’s career in music truly began about the age of six, at which point he and his family began to tour Europe in 1762 for many years for various events and people.
At age nine Wolfgang began to compose symphonies while on an extended tour with his family. By 1770 Wolfgang did not return to tour with his family because he wished to improve his musical depth and from he toured Italy and created two of his more famous operas 'Lucio Silla' and 'Mitridate', wrote a group of string quartet and a few symphonies.

4. Working In The Courts
From he worked at the Prince Archbishop's Court where he performed Piano and Violin concerts, masses and symphonies.
1775 Mozart traveled for the premier for his Opera, La Finta Giardiniera in Munich.
1777 Wolfgang traveled with his mother to France.
In France he composed the Paris Symphony (1778).
Wolfgang left France in 1778 upon his mother’s accidental death in Paris.
From , he worked at the Prince Archbishop's Court where he performed Piano and Violin concerts, masses and symphonies. During this same time of working at the Court’s, in 1775 there was the premier of his Opera La Finta giardiniera in Munich in which he left his post and traveled to attend.
1777 Wolfgang traveled with his mother France upon request of his Father Leopold. It was here that he composed the Paris Symphony (1778). Tragically though, Wolfgang left France upon his mother’s accidental death in Paris in 1778.
Wolfgang officially left performing with the courts in 1781 when he was refused a post he wanted to work. This was a great turn in his career because it created opportunities to play for the public (even though he was no longer working for the courts he did accept a job in Kammermusicus court and wrote dance music).

5. Mozart, a Family Man 1782 Wolfgang marries Constanze Weber.
Mozart and Constanze had eight children.
Only two of their children survived infancy.
1782 Wolfgang Finally marries Constanze Weber, who was the younger sister of Wolfgang’s first love, Aloysia Weber (Aloysia Rejected Wolfgang when he returned from France after his mother’s death). The Couple had their first child June of 1783 but shortly died a couple months later. They proceeded to have eight other children which of only two survived infancy.

6. Mozart’s Popularity
Mozart became increasingly popular after the production of different music compositions such as; managing concerts of his very own , producing a few sonatas for piano and violin, and composing operas.
In 1782 he composed 'Die Entfuhrun aus dem Serail', which was one of his most successful operas of his time.
Wolfgang Mozart became increasingly popular after the production of different music compositions such as; managing concerts of his very own , producing a few sonatas for piano and violin, and composing operas. In 1782 he composed 'Die Entfuhrun aus dem Serail', which was one of his most successful operas of his time.

7. Final Years of Mozart’s Life
Financially Mozart and his wife lived a lavish lifestyle. And borrowed money from others to pay debts.
Mozart spent the rest of his day’s in Vienna and traveled to nearby areas in order to perform his musical compositions.
Mozart died on December 5, 1791.
The cause of his death was a controversial issue but, Some said he died of rheumatic fever and others claim that he was indeed poisoned because he was competition to other musical composers of that time.
Financially Mozart made a good sum of money, which allowed his family to live a comfortable life. However both he and his wife had an eye for nice things and spent their money liberally on fun and flashy items. Because of this the family had zero savings and had to often borrow money from others to pay for expenses.
Mozart spent the rest of his day’s in Vienna but traveled to nearby areas in order to perform his musical compositions. Mozart died on December 5, The cause of his death was a controversial issue and to this day is still indefinite of the cause. Some said he died of rheumatic fever and others claim that he was indeed poisoned because he was competition to other musical composers of that time. No matter what the cause, Mozart’s works continues to influence people and provide musical inspiration to this day.

8. Clarinet Concerto A Major, K662 History
Composed in 1791, only months before his death.
Written for clarinetist, Anton Stadler.
Original version written for a Basset Clarinet.
Premiered on October 16, 1791 in Prague.
Wolfgang Amadeus Mozart’s final master concerto was composed for clarinet and orchestra in 1791, only months before his death. The Clarinet and Orchestra Concerto is a light and playful piece that was specially written for musician and accomplished clarinetist Anton Stadler.
Mozart wrote the original version of the Clarinet Concerto for a Basset Clarinet. Anton Stadler favored the low tones of the second Clarinet parts, so he created a unique clarinet that had the ability obtain the lower notes. Stadler’s Basset Clarinet is similar to the regular clarinet yet longer in length and allowed a wider range that reaches down to a low C. In the 19th and 20th century Basset Clarinets were a rare instrument and not used in symphonies. This is why Mozart’s Clarinet Concerto is often performed using a B flat clarinet.
Mozart’s Clarinet Concerto premiered on October 16, 1791 in Prague. Most music goers commented positively in regards to the performance. Many were impressed by Stadler’s excellent clarinet skills and were particularly impressed with the Basset Clarinet’s Musical Range. However, as with any type of music, there were opposing views towards Mozart’s composition and use of the Basset Clarinet.
Mozart Concerto’s usually have a few things in common. Particularly they all have three movements in which the tempo alternates from Allegro, Adagio, and back to Allegro. Mozart’s Clarinet Concerto stays true to this principle.
Another common aspect is that they usually have a Cadenza. Mozart often placed the Cadenza towards the end of the third movement. However this particular Clarinet Concerto “lacks a true cadenza” (Tishkoff, 2001 ). The lack of Cadenza seems to work out just fine in this piece as long as the orchestra maintains their volume to compliment the Clarinet. Simply, when played correctly one can enjoy and feel the vital notes and beauty of the clarinets smooth sounds.  

9. What Is A Concerto? There Are Always Three Movements
Tempo alternates from Allegro, Adagio, and back to Allegro.
Usually Has a Cadenza.
May Contain Many Themes.
Form Varies From Each Composer & Composition
To provide a listening guide to Mozart’s Clarinet Concerto it is important to understand the fundamentals of the form. Like many concertos from the classical era, Mozart’s Clarinet Concerto is actually a combination of Rondo and Sonata forms. Simply put, Rondo form repeats the main theme throughout the entire Concerto. On the other hand Sonata form is more complex in structure that contains an exposition, development, recapitulation, and coda.

10. First Movement of Mozart’s Clarinet Concerto Rondo/Sonata Form
Rondo form
Repeated themes
throughout the
composition.
Sonata form
Exposition
Development
Recapitulation

11. Exposition First subject group: Transition Second subject group Coda:
Played in the tonic key.
Multiple themes introduced.
Transition
Shift from the tonic key to the dominant key of the second subject group.
Second subject group
Played in the dominant key
Variations of the themes from the first subject group are repeated
Coda:
Brings the exposition to a close using the dominant key.
The Exposition typically follows the pattern of a first subject group, transition, second subject group and Coda. The first Subject group opens using the tonic key. Multiple themes are introduces, however each remains true to the tonic key. The transition purpose is to shift from the tonic key to the dominant key of the second subject group. With the second subject group playing in the dominant key it often repeats some of the themes from the first subject group however variations are applied. The last section, the Coda, has the purpose to bring the exposition to a close using the dominant key.

12. DEVELOPMENT
Played in the same key as the second subject group from the exposition
The key may change multiple times.
Varies in Length.
The Development is divided into two main parts, making it much more elaborate than the Exposition. The first section usually begins in the same key as the second subject group from the exposition, yet it is common for the key to change multiple times.

13. RECAPITULATION Is the second part of the Development.
Exact same structure as the Exposition.
Much of the composition of the Recapitulation is similar to that of the Exposition.
The Second part of the Development is called the Recapitulation and is actually very similar and at points exactly the same to Expositions structure and composition. It has a first subject group that is written and played exactly the same as to the first subject group from the exposition. Often times the Transition portion introduces new material, however in Mozart’s clarinet concerto this is not the case and it is the same as the expositions. The second subject group is played in the tonic key but still stays very close to the composition of the Exposition. The Coda is usually the same as to the exposition as well.

14. Structure of K622 in Rondo/Sonata Form
Orchestral Introduction in Rondo Form
Solo Exposition
Orchestra Transition in Rondo Form
Development
Recapitulation
Orchestra Coda in Rondo Form

15. 0:00-1:55 Orchestral Introduction in rondo form
Click to Listen: Rhapsody, Clarinet Concerto, first movement
0:00 Theme A
The first and second violins, viola, cello, and bass open with the main theme (theme A). The theme is repeated twice at which point the flutes and horns come in. Before movement goes to the next theme it descends leading into the next varying theme.
0:32 B
Orchestra introduces theme B. This is a light and fast tempo theme that is often used in transition or conclusion.
0:49 A
Theme A is repeated. There is slight variation within the violins but one can still consider it theme A.

16. 0:00-1:55 Orchestral Introduction in rondo form
1:02
A third theme is introduced with the violins and horns playing off of each other, however this is a theme that is not heard again.
1:18-1:55
A fourth and fifth theme come into play in this section. You will notice throughout the entire concerto that Mozart adds many different themes some of which are repeated and others that are not but add wonderful personality to the piece in order to portray the musical ability of the clarinet and to bring this section to a close.

17.  1:56-5:28 Solo Exposition
1:56 A
Clarinet soloist enters with theme A in the tonic key of A.
2:03 B
Clarinet alternates to theme B while remaining in the same key.
2:10
Clarinet is silent and orchestra provides a transition to move back into theme A.

18.  1:56-5:28 Solo Exposition
2:12
Clarinet comes in very gradually and ascends Into the higher pitches.
2:15
Using the Trill technique the clarinet descends in pitch then in an arch type movement skips every other note going from low to high.
2:28
Clarinet flutters around in the upper scales, trills, and comes to a close.

19. Exposition Transition 2:32-2:53:
2:32 
The orchestra plays for only a few seconds however this allow for a slight transition into the Dominant key. The orchestra starts out strong and then slows down in order to complete switch over.

20. Exposition Second subject group 2:39-4:46:
Clarinet comes in playing in a new key and lower. The tempo is much slower but builds back up as the clarinet ascends
2:53
Theme A is reintroduced but in the dominant key.
3:13
Theme changes still in the dominant key.

21. Exposition Second subject group 2:39-4:46:
3:26
Theme A is implied in the small section however is only played in pieces. The trill technique is used often throughout the theme.
3:59
The clarinet uses a wide range, playing from the deep low notes and then mimics them in the upper notes then repeats two times. Listening to this it sounds like a conversation. Also the clarinet comes to a conclusion by hitting a very high pitch and descends in an arch format in order to bring this phrase to an end.

22. 4:34- 5:28 Exposition Codetta
Theme A comes in more subtly starting with the orchestra and then adding the clarinet soloist.
4:43-4:55 B
Transition into theme B.
4:55-5:05 B
Theme B is restated in order to lead to the Coda.
5:05-5:28
The music sifts from theme B to a different theme that brings the exposition to a close.

23. Orchestra Transition in Rondo Form 5:28-6:04
5:28-5:48 B
This section opens with theme B
5:48-6:04
This section reintroduces the two themes from the introduction from 1:18-1:55. This is reused in order to lead to the next solo section of the clarinet.

24. Development 6:04-8:44
6:04 A
Clarinet enters light and softly with theme A, which is repeated twice. In general, the development starts in the same key as the exposition ended, and may move through many different keys during its course.
6:22
The theme changes and repeats twice and almost repeats a third time but then quickly ascends and then skips every other note in a descending motion.

25. Development 6:04-8:44
6:47
Orchestra plays to allow a change in theme. The Clarinet comes in playing five very soft repetitive notes that are mimicked by the orchestra. Clarinet quickens its tempo with more enthusiasm in an arch contour. This leads straight into the next theme.
7:04 A
Theme A is repeated, however this it is a variation of theme A.

26. Development 6:04-8:44
7:33
This section is a variation from the theme at point 6:47.
7:57
Clarinet exits and the orchestra enter boldly. This is the Retransition point of the Development. The purpose of this section is to provide a transition from the development to a repeat of the exposition. The Contour of the orchestra is in arch form with crescendo and diminuendo alterations in volume. The clarinet enters at the very end to ease into the main theme of the exposition.

27. RECAPITULATION 8:45-12:07 A. First subject group 8:45-9:21
This section is an exact repeat of the first subject group from the exposition.

28. RECAPITULATION 8:45-12:07 B. Transition 9:22-9:27
The transition in this section is extremely brief where only the orchestra plays very strong and bold, which allows just enough transition to move to the next subject group. The transition from this section and the exposition are exactly the same.

29. RECAPITULATION 8:45-12:07 C. Second subject group 9:27
This is about the same form as in the second subject group as in the exposition. There are some variation in the theme, and the key, however they are still very close and difficult to note the changes.

30. RECAPITULATION 8:45-12:07 D. Codetta 11:13
This is the same theme in the one from the exposition, however it is played higher in the scale.

31. Orchestra Coda in Rondo Form 12:08-12:40
This final section is an exact repeat of the transition section between the exposition and development. This is a perfect way to bring the first movement to a grand cadence.

32. Conclusion
Mozart’s works continues to influence people and provide musical inspiration to this day.
His Clarinet Concerto Is just one of many marvelous works.
Once you understand the fundamentals of structure and form music becomes more enjoyable and meaningful.

33. Sources Concerto (June 23, 2010). Wikipedia [Online]. Available:
Clarinet Concerto (Mozart) (April 28, 2010). Wikipedia [Online]. Available:
Concerto (June 23, 2010). Wikipedia [Online]. Available:
Ritornello (April 20, 2010). Wikipedia [Online]. Available:
Rondo (June 12, 2010). Wikipedia [Online]. Available:
Sonata Form (June 27, 2010). Wikipedia [Online]. Available: