The most beautiful and significant clarinet concerto in the history of music is now appearing in a Henle urtext edition. The piano reduction is accompanied by two separate parts: an urtext edition of the original clarinet part as found in the early prints, and a reconstruction for basset clarinet, the instrument for which the work was originally written. The editor, Henrik Wiese, provides a preface and commentary with an in-depth discussion of the work’s unusual source materials. Mozart’s concerto has become the indispensable audition piece. As a special bonus, this edition also includes the text of the autograph fragment for basset horn in G.
- Clarinet Concerto A major KV 622
In his day, Anton Stadler (1755–1812), or “Nàtschibinìtschibi,” as Mozart jokingly called him in a letter of 15 January 1787 to Jacquin, enjoyed a reputation far beyond the confines of Vienna as an excellent clarinetist and player of the basset horn. It is uncertain just when his friendship with Mozart began, but the two men were probably already acquainted by 1784, … 続き
Wolfgang Amadeus Mozart
Mozart is one of the few composers to have produced masterpieces in all genres. On the concert tours he undertook in his early years (London, Mannheim, Italy, Paris) he gained many varied musical impressions that he assimilated in his youth and which formed the prerequisite for his later consummate musical language.
|1756||Born in Salzburg on January 27, the son of musician and later court composer Leopold Mozart. His early regimented musical education from his father began in 1761, first compositions at age five.|
|1763–66||Extended concert tours through various German cities and to Paris, London, Amsterdam, Switzerland. He composes his first sonatas for violin and piano, K. 10–15, dedicated to Queen Charlotte, as well as the first symphonies from London, K. 16 and 19, which show the influence of the works of Johann Christian Bach and Karl Friedrich Abel (the three-movement Italian sinfonia form).|
|1767||Premiere in Salzburg of the sacred light opera “Die Schuldigkeit des ersten Gebotes,” K. 35 (written with Michael Haydn and Anton C. Adlgasser), and the intermezzo “Apollo et Hyacinthus,” K. 38. Journeys with his father and sister to Vienna.|
|1768||Probably the premiere in Vienna of his Singspiel “Bastien and Bastienne,” K. 50. Composition of his first masses.|
|1769||Performance in Salzburg of the dramma giocoso “La finta semplice,” K. 51.|
|1769–71||Two tours to Italy; he meets Farinelli, P. Nardini, and Padre Martini, among others, and, on the second trip, Hasse. Premieres in Milan of his opera seria “Mitridate, Re di Ponto” in 1770 and of the festa teatrale “Ascanio in Alba” in 1771. Composition of symphonies and his first string quartet (1770, K. 80).|
|1771||Composition of the oratorio “La Betulia liberate,” K. 118, in Salzburg/Italy.|
|1772||Premiere of the serenata drammatica “Il sogno di Scipione,” K. 126, for the accession of Salzburg Archbishop Hieronymus Count Colloredo. He receives an appointment as salaried concertmaster of the Salzburg Court Chapel (of which he had been an unpaid member since 1769). Third journey to Italy with his father, premiere in Milan of the dramma per musica “Lucio Silla,” with general success. The final trip to Italy spells the ends of his youthful phase of appropriation; he has tested out all important instrumental genres (symphony, sonata, string quartet) and all the main genres of opera (Singspiel, opera buffa, opera seria, festa teatrale).|
|from 1773||Composition of string quartets (K. 168–173) under the influence of Haydn, and of symphonies, divertimenti, serenades. He increasingly devotes himself, contingent upon the duties of his post, to liturgical music; several masses are written. Begins to compose violin and piano concerti.|
|1775||Premiere in Munich of the dramma giocoso “La finta giardiniera” and the serenata “Il Rè pastore.” Piano sonatas, K. 279–284.|
|1777||He vacates his post temporarily to undertaken a promotional tour with his mother to Munich, Mannheim, and Paris.|
|1778||Composition of the “Paris” Symphony in D major (K. 297). In Paris he experiences the quarrel between the proponents of Gluck and those of Piccinni. Publication of violin sonatas.|
|1779||Resumes his duties in Salzburg, as court organist. Coronation Mass in C major.|
|1781||Premiere in Munich of his tragédie lyrique “Idomeneo,” in which French and Italian elements are synthesized. Journey to Vienna. After his falling out with the Archbishop of Salzburg, he gives up his post, moves to Vienna, and earns his living as a free composer through concertizing and giving music lessons. His last great period of creativity begins.|
|1782||He becomes acquainted with the works of Bach and Handel through Baron van Swieten; after this he arranges Bachian fugues and incorporates the “learned style” (fugues and counterpoint) into his works beside the “galant style” (e.g. in the String Quartet in G major, K. 387, in 1782; Piano Sonata in F major, K. 533, in 1786; the Jupiter Symphony, K. 551, in 1788; “Die Zauberflöte” (“The Magic Flute”), and the Requiem in D minor, K. 626, both in 1791). Premiere in Vienna of his Singspiel “Die Entführung aus dem Serail” (“The Abduction from the Seraglio”). Composition of the Haffner Symphony in D major, K. 385.|
|1783||Mass in C minor, K. 427; Linz Symphony in C major, K. 425.|
|1784||Hunt Quartet in B-flat major, K. 458.|
|1785||Premiere in Vienna of the oratorio “Davide penitente,” K. 469. “Dissonance” Quartet in C major, K. 465.|
|1786||Premiere of the comedy with music “Der Schauspieldirektor” (“The Impresario”), K. 486, which Salieri’s competing work “Prima la musica e poi le parole” (“First the Music and Then the Words”) bests. Premiere in Vienna of the opera buffa “Le nozze di Figaro” (“The Marriage of Figaro”), whose extended action-packed finales form a highpoint of opera buffa. Prague Symphony in D major, K. 504.|
|1787||Serenade in G major (“Eine kleine Nachtmusik”), K. 525. He is named imperial and royal chamber composer. Premiere in Prague of the dramma giocoso “Il dissoluto punito ossia Il Don Giovanni,” a synthesis of serious and comic opera.|
|1788||Composition of the large Symphonies in E-flat major, K. 543; G minor, K. 550; and C major (Jupiter Symphony), K. 551. Clarinet Quintet in A major, K. 581.|
|1790||Premiere in Vienna of the dramma giocoso “Così fan tutte ossia La scuola degli amanti.”|
|1791||Premiere in Prague of the opera seria “La clemenza di Tito” and in Vienna of the Singspiel “Die Zauberflöte.” Clarinet Concerto in A major, K. 622. The Requiem remains unfinished. Dies in Vienna on December 5.|
The G Henle Verlag urtext of the Mozart concerto is, as one would expect, a beautiful, meticulous edition with a high standard of scholarship. ... There is also a history of the work, an incomplete original manuscript for basset clarinet and a facsimile of a review dated 1802. ... you are given the oversize page and the Henle typeface, which is so easy on the eye.
Bei Henle hingegen wird nicht gegeizt: Hier bereichert ein informatives dreisprachiges Vorwort mit Auflistung aller Quellen und Erläurterungen zur Rekonstruktion der Bassettklarinettenstimme den mit Fussnoten ergänzten Klavierauszug und die beiden Einzelstimmen. Letztere sind im Layout absolut identisch gehalten (gleiche Zeilenanzahl pro Seite, gleiche Taktanzahl pro Zeile), was vergleichendes Arbeiten wesentlich erleichtert. Seitenumbrüche erfolgen ausschliesslich nach längeren Pausen, und Tuttipassagen heben sich in ihrer Stichgrösse vom Soloinstrument ab. Das Notenbild ist insgesamt sehr großzügig angelegt und angenehm zu lesen.
Verdienstvoll, dass jetzt Henle mit einer Urtext-Edition nachzieht, für den kundigen Interpreten ein fundiertes Quellenmaterial mit umfangreichem Text, zwei Solostimmen (für die lange und für die kurze Klarinette) und einem Klavierauszug in neuer, großzügiger Gestaltung.