In the wind concertos, for bassoon, horn (four completed works), flute, flute and harp, oboe and, above all, clarinet, Mozart shows a deep understanding of each instrument’s character and technique.
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In the wind concertos, for bassoon, horn (four completed works), flute, flute and harp, oboe and, above all, clarinet, Mozart shows a deep understanding of each instrument’s character and technique.
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Most of Mozart’s Wind Concertos can best be described as occasional pieces, composed on commissions from professional and amateur players, often with the express purpose of providing income for their composer and satisfying a particular trait, taste or talent of the recipient. In this respect they are very different from the Piano and Violin Concertos. The major exception is the late Clarinet Concerto (K622) written for Mozart’s fellow freemason and friend, Anton Stadler. Stadler was to have a great influence on Mozart’s writing for the clarinet, including the notable solos for the instrument in the final Italian opera La Clemenza di Tito. This Concerto, together with the companion Clarinet Quintet (K581) stands as one of Mozart’s undisputed masterpieces. That being said, the earlier Concertos all have something individual to say for themselves and occasionally reach considerable peaks of inspiration. Hardly the most obvious of instruments for a solo Concerto, Mozart’s first Wind Concerto is nevertheless written for the Bassoon. The grumbling, growling giant can, however, be an affectionate and witty instrument and that is how Mozart obviously sees it. It is significant too, that despite his less than conventional choice of solo player, the Concerto has something about it that shows the piece is throughout conceived only for the Bassoon with its own very definite characteristics. This is Mozart’s only Concerto for the instrument and it was composed in Salzburg in 1774 for the composer’s friend and amateur player of the bassoon and the piano, Thaddaeus von Duernitz. Mozart did later write a bassoon sonata for his friend as well as several piano pieces including three of his Concertos. The work is in the three conventional movements for a Concerto of the time (Fast – Slow – Fast) and generally light hearted and playful in the opening Allegro and final French styled Rondo, with lots of leaps and jumps and runs for the soloist and sweet singing tones evident in the central Andante.
Tracklist:
Clarinet Concerto in A Major, K. 622 (Oskar Michallik (clarinet), Staatskapelle Dresden & Siegfried Kurz):
0:00:00 I. Allegro
0:13:03 II. Adagio
0:20:24 III. Rondo. Allegro
Concerto in C Major for Flute and Harp, K. 299 (Marc Grauwels (flute), Giselle Herbert (harp), Les Violons du Roy & Bernard Labadie):
0:30:20 I. Allegro
0:39:56 II. Andantino
0:48:06 III. Rondeau. Allegro
Johannes Walter (flute), Staatskapelle Dresden & Herbert Blomstedt:
Flute
