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299:. Some have been based on 1790s engravings showing Stadler's instrument. On 28 June 1951, in Prague, the Czech clariettist Josef Janouš played the first modern performance of a version of the concerto reconstructed by the Czech composer Jiřà Kratochvil (1924–2014), using a Selmer A clarinet with a basset lower joint, in which the four basset keys were operated with the right thumb as on the historical instruments. In 1968, the Swiss clarinettist Hans Rudolf Stalder used an instrument built by
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182:, which can play lower notes than an ordinary clarinet, but after the death of Mozart it was published with changes to the solo part to allow performance on conventional instruments. The manuscript score is lost, but from the latter part of the 20th century onwards many performances of the work have been given on basset clarinets in conjectural reconstructions of Mozart's original.
938:. It was followed by recordings with Luigi Amodio and François Étienne as soloists. None of these three versions is known to have survived. The first recordings of the reconstructed counterpart were made in September 1968 with the Swiss clarinettist Hans Rudolph Stalder and the Cologne Chamber Orchestra, conducted by
897:
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The basset clarinet fell out of use after
Stadler's death and no original instruments from his time have survived. The instrument was revived in the latter part of the 20th century: attempts were made to replicate the original version, and new basset clarinets have been built for the specific purpose
282:
commented in 1969 that if the original manuscript had been published, "manufacturers would have made and sold basset clarinets by the thousand", but the manuscript was lost. Mozart's widow told a publisher that
Stadler had either lost it, pawned it or had it stolen from him. In 1801 three different
239:
in G (K. 584b/621b). This excerpt, dating from late 1789, is nearly identical to the corresponding section in the published version for A clarinet, although only the melody lines are completely filled out. After rethinking the work as a basset clarinet concerto, Mozart gave the completed manuscript
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689:(bars 301–353). Here the rondo theme is developed dramatically, using the full range of the clarinet. The coda builds until a brief pause allows the solo clarinet to lead the orchestra into one more extended statement of the A theme, followed by the orchestra's now familiar closing theme of A.
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Several notes throughout the piece go beyond the conventional range of the A clarinet, but the basset clarinet was a rare, custom-made instrument, and when the piece was published after Mozart's death, a new version was made by unknown arrangers, with the low notes
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of its final two bars. As the soloist enters in bar 57, the clarinet repeats the opening theme with the expected added ornamentation. As the orchestra restates the main theme, the clarinet traverses the whole range of the instrument with several flourishes.
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The work was completed a few weeks before the composer's death. It was to be his last completed work, and has been described as his swan-song. The date of its first performance is not certain, but may have been 16 October 1791 in Prague.
480:(cadenza), although no context is offered for a true cadenza. The canonic material of the opening ritornello returns, this time involving the clarinet and leads to the novel feature of the soloist accompanying the orchestra with an
859:
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205:, a close friend of Mozart, was a virtuoso clarinettist and co-inventor of the basset clarinet, an instrument with an extended range of lower notes. It went down to low (written) C, instead of stopping at (written) E as standard
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commented that although the transpositions made the work playable on standard clarinets, it would have been better to publish Mozart's original version, with the alterations printed in smaller notes as optional alternatives.
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Strebel, Harald, "Wie authentisch sind die
Textfassungen der NMA bei Mozarts Klarinettenkonzert KV 622 und dem Klarinettenquintett KV 581? Neue Lösungsvorschläge zur Rekonstruktion der Mozartschen 'Urtexte' ",
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to
Stadler in October 1791. The date of the first performance is not known for certain, but was probably on 16 October 1791 in Prague. Stadler gave a concert there on that day, but no programme survives.
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seamlessly into the next. In some ways the orchestra and soloist are competing with one another – the more definitive the statement made by the orchestra, the more virtuosic the response by the clarinet.
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There is no surviving autograph for the concerto, and the printed score was published posthumously. The only relic of the work written in Mozart's hand is an excerpt of an earlier rendition written for
662:, contains "one of the most dramatic showcases for the basset clarinet in the entire concerto, featuring spectacular leaps, together with dialogue between soprano and baritone registers." Starting in F
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Bars 178–187 serve as the third A. By no means a full statement of the refrain, in this section Mozart sets the motif from the A section as a sequence of descending thirds leading to a stop on the
1971:
A basset clarinet dating from about 1840 is in a German collection and a later 19th-century example is in a collection at Oxford, but they differ from
Stadler's instrument in their constructions.
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undertook to rewrite the score in G major using the fragment K. 621b. Since April 2024, Haynes has been performing the concerto in this version on a basset horn in G made for him by
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326:(1970) and Alan Hacker (1974). The most frequently performed are the two versions published by Bärenreiter (Kratochvil/Hess) and Schott (Wehle/Meyer) In 2023, the clarinettist
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The second B (bars 188–246) begins like the first but is extended and explores some different key areas. This allows the soloist frequent opportunities to display chromatic
520:. As the secondary theme comes to a close, the clarinet has another chance to improvise briefly, and this time leads the canonic material that follows. The Alberti bass and
2264:
KratochvĂl, JiĹ™Ă. "Betrachtungen ĂĽber die
Urfassung des Konzerts fĂĽr Klarinette und des Quintetts fĂĽr Klarinette und Streicher von W. A. Mozart", Eckstein, Pavel (ed.)
322:
The first reconstruction of the concerto for basset clarinet was made in 1951 by
Kratochvil. This was followed by reconstructions by others, including Hess (1968),
643:
The second A (114–137) is heard again briefly, before the orchestra moves right into the closing theme of the original A section, this time employing a descending
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As is conventional in
Classical concerto form, in the recapitulation the soloist and orchestra are united, and the secondary theme is altered to stay in the
1664:
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from Prague that he had completed "Stadler's rondo" – the third movement of the
Clarinet Concerto. The concerto was the final major work Mozart completed;
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register (the middle register). This section is followed in bar 59 by the aforementioned cadenza, which in turn is followed by the first theme, played
213:. Mozart first composed music for that instrument as early as 1783, and for the basset clarinet in 1787. The latter features in the instrumentation of
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311:, Germany; with the Cologne Chamber Orchestra, in September 1968, he made the first recording of the concerto using a basset clarinet. Since 1984,
2954:
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799:
291:– published editions of the work, all with the solo part adapted for the standard clarinet. These became the standard performing editions.
2277:
KratochvĂl, JiĹ™Ă. "Ist die heute gebräuchliche
Fassung des Klarinettenkonzerts und des Klarinettenquintetts von Mozart authentisch?",
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458:
before the first closing theme, featuring first and second violins, enters. The second closing theme is much more subtle until the
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This refrain is interspersed with episodes either echoing this mood or recalling the darker colours of the first movement:
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has described it as the composer's "last instrumental work, and his last great completed work of any kind", and the critic
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474:, E major. At the end of the E-major section, there is a short pause, where the soloist conventionally improvises a short
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1789:
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Sinfonia Concertante for Four Winds (oboe, clarinet, horn, bassoon) in E-flat major, K. 297b/Anh. C 14.01
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1923:
554:. The two-part, cantabile 16-bar main theme is first performed by the solo clarinet and repeated by the orchestra:
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Performed by Markus Krumpöck and the Merkur Orchester Wiener Neustadt conducted by Willibald Zwittkovits (1999)
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608:. It is in A–B–A–C–A–B–A form, with the middle A's being shorter restatements of the theme, unlike regular
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The refrain (bars 247–301) is heard for the final time, finally in its entirety, before proceeding to the
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over the first closing theme. The orchestral ritornello returns, ending with the second closing theme.
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2437:
Rice, Albert R. (2016). "The Basset Clarinet: Instruments, Makers, and Patents". In Libin, L. (ed.).
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The 1802 AMZ review of the Mozart Clarinet Concerto (German Original text with English Translation)
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71:
450:, played by the violins and flutes while the lower instruments drive the piece forward. After the
288:
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942:. For this and for concert performances, Stalder had a modern Boehm basset clarinet built at the
102:
28:
2253:
Mozart Jahrbuch des Zentralinstitutes fĂĽr Mozartforschung der Internationalen Stiftung Mozarteum
568:(lowest) register, including (in the reconstructed version) the basset tones down to (written) C
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709:(basset clarinet) and the University of Washington Symphony conducted by Abraham Kaplan (1987)
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The first A (bars 1–56) features the soloist in dialogue with the orchestra, often one phrase
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The first recording using a reconstruction of a period basset clarinet was in 1973 on the
8:
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Oboe Concerto in C major/Flute Concerto No. 2 in D major, K. 314/271k
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minor and D major, and even has some hints of the Baroque. Before the formal orchestral
114:
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2752:
2696:
2649:"Reading between the (Ledger) Lines: Performing Mozart's Music for the Basset Clarinet"
506:
391:
505:, Mozart writes a series of descending sequences with the cellos and bassoons holding
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and some very dramatic lines which feature the extended range of the basset clarinet.
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Score with the beginnings of the 3 movements, historical basset clarinet on the right
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682:, and the composer to demonstrate his creativity in the reworking of the material.
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The first B (bars 57–113) begins with a lyrical theme, and eventually features
467:
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2856:
A new edition based on the three early prints, critical report and commentary.
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576:), the lowest tone which the basset clarinet in A can play, and also uses the
528:
for the soloist recur before the movement ends in a cheerful final orchestral
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At around 12 minutes, the Allegro is the longest movement in the concerto.
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The concerto ends with a movement in A major. This movement is a blend of
2926:
Concerto for Flute, Harp, and Orchestra in C major, K. 299/297c
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to perform a version of the concerto reconstructed in collaboration with
279:
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The B section, in which the solo part is always prominent, exploits the
365:. The typical performance time is 29 minutes (see "Audio files" below).
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609:
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36:
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2321:, Cambridge Music Handbooks, Cambridge University Press, p. 51,
1234:
565:
206:
2715:" [A journey through the German clarinet-making landscape].
2438:
2227:(Magazine for clarinet, oboe and bassoon) 2004, booklet 1, pp. 36–39
268:
to regular range. Objections were raised to this: a reviewer in the
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521:
510:
308:
248:
446:
It soon transforms into a flurry of sixteenth notes in descending
2921:
Andante for Flute and Orchestra in C major, K. 315/285e
2223:(The beginning of basset clarinet making in the 20th century) in
648:
551:
475:
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451:
354:
162:
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134:
110:
50:
2251:. "Die UrsprĂĽngliche Gestalt des Klarinettenkonzertes KV 622",
951:
604:
that Mozart developed in his piano concertos, most notably the
341:, the Mozart concerto is by far the most frequently performed.
2266:
Internationale Konferenz ĂĽber das Leben und Werk W. A. Mozarts
349:
The modern scoring of the work is for solo clarinet in A, two
117: 622, was completed in October 1791 for the clarinettist
971:(2010; orchestral sections only), and the Adagio is heard in
588:) by the clarinet, which concludes the movement with a coda.
377:
movement in A major. The form of the movement is as follows:
158:
144:
130:
658:
The C section (bars 137–177), according to the musicologist
319:
to play the concerto (and also Mozart's clarinet quintet).
2443:. Hillsdale, New York: Pendragon Press. pp. 157–178.
2307:
470:, and eventually tonicizes C major before arriving in the
934:
20076‑8), featured Haydn Draper as soloist, conducted by
668:
minor, this section eventually modulates back to A major.
2719:(in German). Vol. 38, no. 3. pp. 107–117.
2221:
Der Beginn des Bassettklarinettenbaus im 20. Jahrhundert
2142:
2931:
Flute Concerto No. 1 in G major, K. 313
2713:
Eine Reise durch die deutsche Klarinettenbaulandschaft
2194:
2182:
2170:
2095:
2093:
2037:
2035:
2970:
2225:
Rohrblatt, Zeitschrift fĂĽr Klarinette, Oboe und Fagot
2130:
2481:
2469:
2457:
2395:
2383:
2371:
2334:
2230:
2105:
1996:
2726:"The best recordings of Mozart's Clarinet Concerto"
2090:
2032:
2020:
2008:
1984:
930:
The first recording of the concerto, made in 1929 (
2911:Bassoon Concerto in B-flat major, K. 191/186e
2582:
965:. Parts of the concerto are heard in the score of
2354:"Mozarts Klarinettenkonzert A-Dur KV 622 – Noten"
2994:
2815:Konzert in A fĂĽr Klarinette und Orchester KV 622
2677:(April 1969). "Mozart and the Basset Clarinet".
2604:Shackleton, Nicholas (2001). "Basset clarinet".
2440:Instrumental odyssey: a tribute to Herbert Heyde
1953:
2955:List of compositions by Wolfgang Amadeus Mozart
2936:Clarinet Concerto in A major, K. 622
2293:Quinto Seminario di Filologia Musicale, Mozart
2052:
2050:
219:(1789). In early October 1791 Mozart wrote to
2875:
2585:The Classical Style: Haydn, Mozart, Beethoven
2215:
2213:
2211:
2209:
1643:Symphonieorchester des Bayerischen Rundfunks
209:do. Stadler was also an expert player of the
178:The concerto was written to be played on the
2533:
2056:
2047:
2890:Concertos and other concertante works for
2882:
2868:
2603:
2206:
2188:
980:Other recordings of the concerto include:
615:The movement opens with a cheerful theme:
35:
2841:International Music Score Library Project
2664:
2563:. Cambridge: Cambridge University Press.
2501:"reDiscover Mozart's 'Clarinet Concerto'"
695:Audio files of Mozart's Clarinet Concerto
2723:
2303:
2301:
2165:
2080:
2078:
961:with Hans Deinzer and the conductorless
491:explores a few new key areas including F
315:has used a basset clarinet in A made by
242:
189:
2646:
2620:10.1093/gmo/9781561592630.article.40001
2416:"Basset clarinet and basset conversion"
2200:
2176:
2161:
2159:
2157:
2995:
2741:"The Basset Clarinet of Anton Stadler"
2738:
2673:
2555:
2487:
2475:
2401:
2389:
2377:
2148:
2136:
2124:
2111:
2099:
2084:
2041:
2026:
2014:
2002:
1990:
977:(1985), with the soloist Jack Brymer.
591:
2863:
2710:
2577:
2463:
2340:
2298:
2236:
2075:
198:; sketch of his basset clarinet, 1794
3008:Concertos by Wolfgang Amadeus Mozart
2854:, reconstruction for basset clarinet
2766:
2436:
2268:, report (Prague, 1956), pp. 262–271
2154:
2069:
1884:Deutsches Symphonie-Orchester Berlin
295:of performing Mozart's concerto and
2767:Ward, Martha Kingdon (April 1947).
2295:2006, G. Fornari (ed.), pp. 87–113.
1790:Orchestra of the Eighteenth Century
845:conducted by Simon Schindler (2004)
841:Performed by Bruce Edwards and the
13:
2219:Grass, Thomas and Dietrich Demus,
1838:Deutsche Kammerphilharmonie Bremen
1287:Academy of St Martin in the Fields
913:Problems playing these files? See
466:The secondary theme begins in the
125:, in a fast–slow–fast succession.
14:
3029:
2805:
2724:McCarthy, James (February 2012).
543:The second movement, which is in
2980:
2426:from the original on 2018-12-23.
893:
875:
857:
822:
804:
786:
755:
737:
719:
454:, the strings begin a series of
231:called it Mozart's "swan-song".
2739:Poulin, Pamela L. (Fall 1982).
2493:
2430:
2413:
2407:
2346:
2284:
2271:
2258:
2242:
2117:
1965:
271:Allgemeine musikalische Zeitung
2279:Beiträge zur Musikwissenschaft
2062:
606:A major Piano Concerto, K. 488
1:
1978:
1954:Notes, references and sources
1749:Orchestra Solamente naturali
925:
538:
368:
16:Musical composition by Mozart
1769:Orchestre National de France
7:
2666:10.5642/perfpr.199710.02.03
2653:Performance Practice Review
2640:
2255:(Salzburg, 1968), pp. 18–30
283:publishing houses – André,
10:
3034:
2837:Clarinet Concerto (Mozart)
2647:Adelson, Rob (Fall 1997).
2589:. New York: W. W. Norton.
2522:
1752:Bremen Radio Hall Records
1600:Freiburger Barockorchester
1362:Éditions de l'Oiseau-Lyre
912:
436:that is joyful and light:
373:The concerto opens with a
185:
2950:
2906:
2769:"Mozart and the Clarinet"
2561:Mozart: Clarinet Concerto
1530:Orpheus Chamber Orchestra
909:
843:Fulda Symphonic Orchestra
92:
77:
67:
56:
46:
34:
26:
21:
2852:Clarinet Concerto KV 622
2711:König, Gisbert (2023). "
2527:
1958:
1467:Vienna Concentus Musicus
1358:Academy of Ancient Music
344:
3018:Compositions in A major
2898:Wolfgang Amadeus Mozart
2800:(subscription required)
2787:10.1093/ml/XXVIII.2.126
2762:(subscription required)
2745:College Music Symposium
2706:(subscription required)
2635:(subscription required)
2612:Oxford University Press
2281:, 1960 2(1), pp. 27-34.
1861:Royal Northern Sinfonia
1709:Leonardo GarcĂa AlarcĂłn
1595:Gottfried von der Goltz
547:(i.e. ABA'), is in the
121:. It consists of three
103:Wolfgang Amadeus Mozart
29:Wolfgang Amadeus Mozart
2535:Hildesheimer, Wolfgang
1924:Rotterdam Philharmonic
1439:Christoph von Dohnányi
1399:Jean-François Paillard
1381:Mostly Mozart Festival
1178:Philadelphia Orchestra
1109:Philharmonia Orchestra
289:Breitkopf & Härtel
260:
199:
2420:Stephen Fox Clarinets
1553:Amsterdam Sinfonietta
1335:Staatskapelle Dresden
1270:RCA Victor Gold Seal
432:begins an orchestral
246:
225:Wolfgang Hildesheimer
193:
2892:woodwind instruments
1904:London Philharmonic
1823:Deutsche Grammophon
1809:Alessandro Carbonare
1713:New Century Baroque
1534:Deutsche Grammophon
1510:Berlin Philharmonic
1462:Nikolaus Harnoncourt
1424:Vienna Philharmonic
1226:Deutsche Grammophon
1223:Vienna Philharmonic
1205:Deutsche Grammophon
1063:Danish Radio Chamber
651:, modulating to the
2831:Neue Mozart-Ausgabe
2774:Music & Letters
1705:Benjamin Dieltjens
1694:Royal Philharmonic
1353:Christopher Hogwood
1263:Alexander Schneider
1201:Berlin Philharmonic
1196:Herbert von Karajan
1104:Herbert von Karajan
1040:Vienna Philharmonic
1035:Herbert von Karajan
1017:London Philharmonic
940:Helmut MĂĽller-BrĂĽhl
889:III. Rondo: Allegro
818:III. Rondo: Allegro
751:III. Rondo: Allegro
697:
592:III. Rondo: Allegro
545:rounded binary form
489:development section
3013:Clarinet concertos
2607:Grove Music Online
2087:, pp. 360–361
1665:Haydn Philharmonie
1132:Royal Philharmonic
1127:Sir Thomas Beecham
693:
339:clarinet concertos
261:
200:
3003:1791 compositions
2968:
2967:
2687:(1514): 359–362.
2680:The Musical Times
2629:978-1-56159-263-0
2570:978-0-521-47929-5
2548:978-0-460-04347-2
2507:. 16 October 2023
2450:978-1-57647-252-1
2151:, pp. 75–76.
2057:Hildesheimer 1983
1951:
1950:
1896:Roeland Hendrikx
1639:Cornelius Meister
1614:Joan Enric Lluna
1403:Paillard Chamber
1258:Richard Stoltzman
1168:Anthony Gigliotti
968:The King's Speech
936:Clarence Raybould
932:Brunswick Records
923:
922:
918:
898:
880:
862:
827:
809:
791:
760:
742:
724:
526:diminished chords
501:leading into the
317:Herbert Wurlitzer
278:The clarinettist
107:Clarinet Concerto
100:
99:
22:Clarinet Concerto
3025:
2985:
2984:
2983:
2976:
2960:Köchel catalogue
2901:
2900:
2884:
2877:
2870:
2861:
2860:
2839:: Scores at the
2827:
2801:
2798:
2763:
2760:
2735:
2720:
2707:
2704:
2670:
2668:
2636:
2633:
2610:(8th ed.).
2600:
2588:
2574:
2552:
2541:. London: Dent.
2517:
2516:
2514:
2512:
2497:
2491:
2485:
2479:
2473:
2467:
2461:
2455:
2454:
2434:
2428:
2427:
2411:
2405:
2399:
2393:
2387:
2381:
2375:
2369:
2368:
2366:
2364:
2350:
2344:
2338:
2332:
2331:
2305:
2296:
2288:
2282:
2275:
2269:
2262:
2256:
2246:
2240:
2234:
2228:
2217:
2204:
2198:
2192:
2186:
2180:
2174:
2168:
2163:
2152:
2146:
2140:
2134:
2128:
2121:
2115:
2109:
2103:
2097:
2088:
2082:
2073:
2066:
2060:
2054:
2045:
2039:
2030:
2024:
2018:
2012:
2006:
2000:
1994:
1988:
1972:
1969:
1936:Pierre GĂ©nisson
1865:Signum Classics
1819:Orchestra Mozart
1760:Patrick Messina
1743:Charles Neidich
1727:Michael Collins
1724:Michael Collins
1676:Berlin Classics
1673:
1622:English Chamber
1591:Lorenzo Coppola
1580:English Chamber
1561:
1415:Ernst Ottensamer
1394:Jacques Lancelot
1282:Neville Marriner
1267:English Chamber
1145:Gervase de Peyer
1113:Warner Classics
983:
982:
963:Collegium Aureum
911:
900:
899:
882:
881:
864:
863:
829:
828:
811:
810:
793:
792:
762:
761:
744:
743:
726:
725:
698:
692:
667:
666:
612:which is ABACA.
496:
495:
297:clarinet quintet
251:(soprano) in A,
88:
86:
72:Classical period
39:
19:
18:
3033:
3032:
3028:
3027:
3026:
3024:
3023:
3022:
2993:
2992:
2991:
2987:Classical music
2981:
2979:
2971:
2969:
2964:
2946:
2902:
2896:
2895:
2888:
2825:
2823:critical report
2808:
2799:
2761:
2705:
2643:
2634:
2630:
2597:
2571:
2549:
2530:
2525:
2520:
2510:
2508:
2505:uDiscover Music
2499:
2498:
2494:
2486:
2482:
2474:
2470:
2462:
2458:
2451:
2435:
2431:
2412:
2408:
2400:
2396:
2388:
2384:
2376:
2372:
2362:
2360:
2352:
2351:
2347:
2339:
2335:
2329:
2306:
2299:
2289:
2285:
2276:
2272:
2263:
2259:
2247:
2243:
2235:
2231:
2218:
2207:
2199:
2195:
2189:Shackleton 2001
2187:
2183:
2175:
2171:
2164:
2155:
2147:
2143:
2135:
2131:
2122:
2118:
2110:
2106:
2098:
2091:
2083:
2076:
2067:
2063:
2055:
2048:
2040:
2033:
2025:
2021:
2013:
2009:
2001:
1997:
1989:
1985:
1981:
1976:
1975:
1970:
1966:
1961:
1956:
1900:Martyn Brabbins
1795:Philips Records
1731:Swedish Chamber
1667:
1555:
1522:Charles Neidich
1489:Prague Chamber
1435:Franklin Cohen
1420:Sir Colin Davis
1245:English Chamber
1155:London Symphony
1086:Boston Symphony
1012:Malcolm Sargent
944:F. Arthur Uebel
928:
919:
917:
910:
905:
904:
903:
902:
901:
894:
891:
885:
884:
883:
876:
873:
867:
866:
865:
858:
855:
849:
848:
846:
834:
833:
832:
831:
830:
823:
820:
814:
813:
812:
805:
802:
796:
795:
794:
787:
784:
778:
777:
775:
767:
766:
765:
764:
763:
756:
753:
747:
746:
745:
738:
735:
729:
728:
727:
720:
717:
711:
710:
664:
663:
621:
594:
575:
571:
560:
541:
493:
492:
442:
371:
347:
332:Jochen Seggelke
301:F. Arthur Uebel
253:basset clarinet
188:
180:basset clarinet
172:
84:
82:
42:
17:
12:
11:
5:
3031:
3021:
3020:
3015:
3010:
3005:
2990:
2989:
2966:
2965:
2963:
2962:
2957:
2951:
2948:
2947:
2945:
2944:
2938:
2933:
2928:
2923:
2918:
2913:
2907:
2904:
2903:
2887:
2886:
2879:
2872:
2864:
2858:
2857:
2848:
2843:
2834:
2811:
2807:
2806:External links
2804:
2803:
2802:
2781:(2): 126–153.
2764:
2736:
2721:
2708:
2693:10.2307/951470
2671:
2659:(2): 152–191.
2642:
2639:
2638:
2637:
2628:
2601:
2595:
2579:Rosen, Charles
2575:
2569:
2553:
2547:
2529:
2526:
2524:
2521:
2519:
2518:
2492:
2480:
2468:
2466:, p. 118.
2456:
2449:
2429:
2414:Fox, Stephen.
2406:
2394:
2382:
2370:
2345:
2343:, p. 115.
2333:
2327:
2313:Julian Rushton
2297:
2283:
2270:
2257:
2241:
2239:, p. 112.
2229:
2205:
2203:, p. 158.
2193:
2181:
2179:, p. 157.
2169:
2153:
2141:
2139:, p. 360.
2129:
2116:
2104:
2089:
2074:
2061:
2046:
2031:
2019:
2007:
2005:, p. 359.
1995:
1982:
1980:
1977:
1974:
1973:
1963:
1962:
1960:
1957:
1955:
1952:
1949:
1948:
1945:
1940:
1939:Jakob Lehmann
1937:
1934:
1930:
1929:
1926:
1921:
1919:Gustavo Gimeno
1916:
1913:
1909:
1908:
1905:
1902:
1897:
1894:
1890:
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1824:
1821:
1816:
1814:Claudio Abbado
1811:
1806:
1802:
1801:
1792:
1787:
1782:
1781:Eric Hoeprich
1779:
1775:
1774:
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1636:
1634:Sebastian Manz
1631:
1627:
1626:
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1620:
1615:
1612:
1608:
1607:
1605:Harmonia Mundi
1602:
1597:
1592:
1589:
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1584:
1581:
1578:
1573:
1570:
1566:
1565:
1562:
1550:
1548:Peter Oundjian
1545:
1540:
1536:
1535:
1532:
1527:
1524:
1519:
1515:
1514:
1511:
1508:
1506:Claudio Abbado
1503:
1498:
1494:
1493:
1490:
1487:
1485:Dieter Klöcker
1482:
1480:Dieter Klöcker
1477:
1473:
1472:
1469:
1464:
1459:
1457:Wolfgang Meyer
1454:
1450:
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1446:
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1429:
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1417:
1412:
1408:
1407:
1404:
1401:
1396:
1391:
1387:
1386:
1383:
1378:
1376:Gerard Schwarz
1373:
1368:
1364:
1363:
1360:
1355:
1350:
1345:
1341:
1340:
1337:
1332:
1327:
1322:
1318:
1317:
1315:Nimbus Records
1312:
1307:
1302:
1297:
1293:
1292:
1289:
1284:
1279:
1276:
1272:
1271:
1268:
1265:
1260:
1255:
1251:
1250:
1247:
1242:
1237:
1232:
1228:
1227:
1224:
1221:
1216:
1211:
1207:
1206:
1203:
1198:
1193:
1188:
1184:
1183:
1180:
1175:
1173:Eugene Ormandy
1170:
1165:
1161:
1160:
1157:
1152:
1147:
1142:
1138:
1137:
1134:
1129:
1124:
1119:
1115:
1114:
1111:
1106:
1101:
1099:Bernard Walton
1096:
1092:
1091:
1088:
1083:
1078:
1073:
1069:
1068:
1067:Haydn Society
1065:
1060:
1058:Mogens Wöldike
1055:
1050:
1046:
1045:
1042:
1037:
1032:
1027:
1023:
1022:
1019:
1014:
1009:
1004:
1000:
999:
996:
993:
990:
987:
948:Markneukirchen
927:
924:
921:
920:
907:
906:
892:
887:
886:
874:
869:
868:
856:
851:
850:
840:
839:
838:
837:
835:
821:
816:
815:
803:
798:
797:
785:
780:
779:
773:
772:
771:
770:
768:
754:
749:
748:
736:
731:
730:
718:
713:
712:
707:William McColl
704:
703:
702:
701:
691:
690:
683:
676:
673:dominant chord
669:
656:
653:relative minor
641:
634:
623:
622:
593:
590:
573:
569:
562:
561:
540:
537:
503:recapitulation
468:parallel minor
452:medial caesura
444:
443:
426:
425:
424:: bars 343–359
419:
418:: bars 251–343
416:Recapitulation
413:
412:: bars 227–250
407:
406:: bars 172–227
401:
400:: bars 154–171
395:
388:
370:
367:
346:
343:
328:Richard Haynes
216:Così fan tutte
194:Silhouette of
187:
184:
171:
170:
161:: Allegro (in
156:
142:
127:
98:
97:
94:
90:
89:
79:
75:
74:
69:
65:
64:
58:
54:
53:
48:
44:
43:
40:
32:
31:
24:
23:
15:
9:
6:
4:
3:
2:
3030:
3019:
3016:
3014:
3011:
3009:
3006:
3004:
3001:
3000:
2998:
2988:
2978:
2977:
2974:
2961:
2958:
2956:
2953:
2952:
2949:
2942:
2939:
2937:
2934:
2932:
2929:
2927:
2924:
2922:
2919:
2917:
2914:
2912:
2909:
2908:
2905:
2899:
2893:
2885:
2880:
2878:
2873:
2871:
2866:
2865:
2862:
2855:
2853:
2849:
2847:
2844:
2842:
2838:
2835:
2833:
2832:
2824:
2820:
2816:
2812:
2810:
2809:
2796:
2792:
2788:
2784:
2780:
2776:
2775:
2770:
2765:
2758:
2754:
2750:
2746:
2742:
2737:
2733:
2732:
2727:
2722:
2718:
2714:
2709:
2702:
2698:
2694:
2690:
2686:
2682:
2681:
2676:
2672:
2667:
2662:
2658:
2654:
2650:
2645:
2644:
2631:
2625:
2621:
2617:
2613:
2609:
2608:
2602:
2598:
2596:0-393-04020-8
2592:
2587:
2586:
2580:
2576:
2572:
2566:
2562:
2558:
2557:Lawson, Colin
2554:
2550:
2544:
2540:
2536:
2532:
2531:
2506:
2502:
2496:
2490:, p. 71.
2489:
2484:
2478:, p. 70.
2477:
2472:
2465:
2460:
2452:
2446:
2442:
2441:
2433:
2425:
2421:
2417:
2410:
2404:, p. 65.
2403:
2398:
2392:, p. 76.
2391:
2386:
2380:, p. 62.
2379:
2374:
2359:
2358:Stretta Music
2355:
2349:
2342:
2337:
2330:
2328:0-521-47929-0
2324:
2320:
2319:
2314:
2310:
2304:
2302:
2294:
2287:
2280:
2274:
2267:
2261:
2254:
2250:
2245:
2238:
2233:
2226:
2222:
2216:
2214:
2212:
2210:
2202:
2197:
2190:
2185:
2178:
2173:
2167:
2166:McCarthy 2012
2162:
2160:
2158:
2150:
2145:
2138:
2133:
2126:
2120:
2114:, p. 35.
2113:
2108:
2102:, p. 75.
2101:
2096:
2094:
2086:
2081:
2079:
2072:, p. 150
2071:
2065:
2059:, p. 352
2058:
2053:
2051:
2044:, p. 74.
2043:
2038:
2036:
2029:, p. 73.
2028:
2023:
2017:, p. 70.
2016:
2011:
2004:
1999:
1993:, p. 67.
1992:
1987:
1983:
1968:
1964:
1946:
1944:
1943:Concerto Köln
1941:
1938:
1935:
1932:
1931:
1927:
1925:
1922:
1920:
1917:
1915:Julien Hervé
1914:
1911:
1910:
1906:
1903:
1901:
1898:
1895:
1892:
1891:
1887:
1885:
1882:
1880:
1879:Peter Ruzicka
1877:
1875:
1872:
1869:
1868:
1864:
1862:
1859:
1857:
1856:Mario Venzago
1854:
1852:
1849:
1846:
1845:
1841:
1839:
1836:
1834:Martin Fröst
1833:
1831:Martin Fröst
1830:
1827:
1826:
1822:
1820:
1817:
1815:
1812:
1810:
1807:
1804:
1803:
1800:
1796:
1793:
1791:
1788:
1786:
1785:Frans BrĂĽggen
1783:
1780:
1777:
1776:
1773:Radio France
1772:
1770:
1767:
1765:
1764:Riccardo Muti
1762:
1759:
1756:
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1656:
1653:
1650:
1649:
1645:
1642:
1640:
1637:
1635:
1632:
1629:
1628:
1625:Cala Records
1624:
1621:
1619:
1616:
1613:
1610:
1609:
1606:
1603:
1601:
1598:
1596:
1593:
1590:
1587:
1586:
1582:
1579:
1577:
1574:
1572:Anthony Pike
1571:
1568:
1567:
1563:
1559:
1554:
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1549:
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1544:
1541:
1538:
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1525:
1523:
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1507:
1504:
1502:
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1474:
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1463:
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1434:
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1423:
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1416:
1413:
1410:
1409:
1405:
1402:
1400:
1397:
1395:
1392:
1389:
1388:
1384:
1382:
1379:
1377:
1374:
1372:
1371:David Shifrin
1369:
1366:
1365:
1361:
1359:
1356:
1354:
1351:
1349:
1346:
1343:
1342:
1338:
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1331:
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1326:
1323:
1320:
1319:
1316:
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1311:
1308:
1306:
1303:
1301:
1298:
1295:
1294:
1290:
1288:
1285:
1283:
1280:
1278:Karl Leister
1277:
1274:
1273:
1269:
1266:
1264:
1261:
1259:
1256:
1253:
1252:
1248:
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1233:
1230:
1229:
1225:
1222:
1220:
1217:
1215:
1212:
1209:
1208:
1204:
1202:
1199:
1197:
1194:
1192:
1189:
1186:
1185:
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1179:
1176:
1174:
1171:
1169:
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1125:
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1117:
1116:
1112:
1110:
1107:
1105:
1102:
1100:
1097:
1094:
1093:
1089:
1087:
1084:
1082:
1081:Charles Munch
1079:
1077:
1076:Benny Goodman
1074:
1071:
1070:
1066:
1064:
1061:
1059:
1056:
1054:
1053:Louis Cahuzac
1051:
1048:
1047:
1043:
1041:
1038:
1036:
1033:
1031:
1030:Leopold Wlach
1028:
1025:
1024:
1020:
1018:
1015:
1013:
1010:
1008:
1007:Reginald Kell
1005:
1002:
1001:
997:
994:
991:
988:
985:
984:
981:
978:
976:
975:
974:Out of Africa
970:
969:
964:
960:
955:
953:
949:
945:
941:
937:
933:
916:
908:
890:
872:
854:
844:
836:
819:
801:
783:
769:
752:
734:
716:
708:
705:Performed by
700:
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2772:
2751:(2): 67–82.
2748:
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2729:
2716:
2684:
2678:
2675:Hacker, Alan
2656:
2652:
2605:
2584:
2560:
2538:
2509:. Retrieved
2504:
2495:
2483:
2471:
2459:
2439:
2432:
2419:
2409:
2397:
2385:
2373:
2361:. Retrieved
2357:
2348:
2336:
2317:
2309:Colin Lawson
2292:
2286:
2278:
2273:
2265:
2260:
2252:
2244:
2232:
2224:
2220:
2201:Adelson 1997
2196:
2184:
2177:Adelson 1997
2172:
2144:
2132:
2127:, p. 76
2119:
2107:
2064:
2022:
2010:
1998:
1986:
1967:
1907:EPR Classic
1874:Jörg Widmann
1851:Julian Bliss
1799:Glossa Music
1690:Emma Johnson
1685:Emma Johnson
1576:Ralf GothĂłni
1543:Martin Fröst
1501:Sabine Meyer
1325:Sabine Meyer
1310:Hanover Band
1300:Colin Lawson
1240:Jeffrey Tate
1214:Alfred Prinz
1191:Karl Leister
979:
972:
966:
956:
929:
694:
660:Colin Lawson
638:chromaticism
624:
614:
595:
585:
581:
563:
542:
534:
529:
515:
498:
486:
482:Alberti bass
476:
472:dominant key
465:
445:
433:
427:
421:
409:
397:
382:
372:
348:
336:
324:Hans Deinzer
321:
313:Sabine Meyer
293:
277:
269:
262:
233:
214:
201:
177:
173:
153:ternary form
106:
101:
2826:(in German)
2488:Lawson 1996
2476:Lawson 1996
2402:Lawson 1996
2390:Lawson 1996
2378:Lawson 1996
2249:Hess, Ernst
2149:Poulin 1982
2137:Hacker 1969
2125:Poulin 1982
2112:Lawson 1996
2100:Poulin 1982
2085:Hacker 1969
2042:Poulin 1982
2027:Poulin 1982
2015:Poulin 1982
2003:Hacker 1969
1991:Poulin 1982
1928:NoMadMusic
1668: [
1646:BR Klassik
1556: [
1305:Roy Goodman
1122:Jack Brymer
946:factory in
680:figurations
602:rondo forms
584:(sometimes
572:(sounding A
549:subdominant
507:suspensions
404:Development
387:: bars 1–56
381:Orchestral
375:sonata-form
337:Of all the
280:Alan Hacker
257:Basset horn
237:basset horn
229:Henri Ghéon
211:basset horn
139:sonata form
2997:Categories
2943:(doubtful)
2731:Gramophone
2464:Rosen 1997
2341:König 2023
2237:König 2023
2123:Quoted in
2068:Quoted in
1979:References
1660:Sharon Kam
1655:Sharon Kam
1618:Antony Pay
1348:Antony Pay
1150:Peter Maag
995:Orchestra
992:Conductor
926:Recordings
915:media help
871:II. Adagio
853:I. Allegro
800:II. Adagio
782:I. Allegro
733:II. Adagio
715:I. Allegro
610:rondo form
586:pianissimo
539:II. Adagio
530:ritornello
499:ritornello
434:ritornello
428:The first
422:Ritornello
410:Ritornello
398:Ritornello
392:exposition
384:ritornello
369:I. Allegro
305:Ernst Hess
266:transposed
167:rondo form
2717:Rohrblatt
2070:Ward 1947
1716:Ambronay
1444:Cleveland
1330:Hans Vonk
1249:Hyperion
1235:Thea King
1219:Karl Böhm
1182:Columbia
1044:Columbia
959:EMI label
566:chalumeau
522:arpeggios
513:strings.
255:in A and
247:standard
207:clarinets
123:movements
93:Movements
57:Catalogue
2757:40375184
2641:Journals
2581:(1997).
2559:(1996).
2537:(1983).
2424:Archived
2315:(1996),
1735:Chandos
1427:Philips
1291:Philips
989:Soloist
665:♯
645:sequence
511:staccato
494:♯
448:sequence
355:bassoons
309:Augsburg
249:clarinet
221:his wife
78:Composed
2828:in the
2523:Sources
1697:Nimbus
1471:Teldec
847:
776:
649:hemiola
631:eliding
578:clarion
552:D major
477:eingang
460:fanfare
363:strings
186:History
165:and in
163:A major
151:and in
149:D major
137:and in
135:A major
131:Allegro
111:A major
83: (
51:A major
2973:Portal
2813:
2795:855526
2793:
2755:
2701:951470
2699:
2626:
2593:
2567:
2545:
2539:Mozart
2511:2 July
2447:
2363:4 July
2325:
2318:Mozart
1947:Erato
1888:Orfeo
1448:Decca
1406:Erato
1385:Delos
1159:Decca
998:Label
952:Saxony
598:sonata
456:canons
357:, two
353:, two
351:flutes
287:, and
285:Sieber
145:Adagio
2819:Score
2791:JSTOR
2753:JSTOR
2697:JSTOR
2528:Books
1959:Notes
1933:2023
1912:2018
1893:2018
1870:2016
1847:2014
1828:2013
1805:2013
1778:2013
1757:2013
1740:2013
1721:2013
1702:2012
1681:2012
1672:]
1651:2011
1630:2010
1611:2008
1588:2007
1583:Avie
1569:2004
1560:]
1539:2003
1518:2002
1497:1998
1476:1998
1453:1988
1432:1998
1411:1994
1390:1993
1367:1992
1344:1990
1321:1990
1296:1990
1275:1989
1254:1989
1231:1985
1210:1974
1187:1972
1164:1961
1141:1960
1118:1960
1095:1958
1072:1957
1049:1952
1026:1949
1003:1940
986:Year
582:piano
524:over
518:tonic
509:over
430:theme
390:Solo
359:horns
345:Music
159:Rondo
68:Style
63:. 622
2821:and
2624:ISBN
2591:ISBN
2565:ISBN
2543:ISBN
2513:2024
2445:ISBN
2365:2024
2323:ISBN
1842:BIS
1564:BIS
1513:EMI
1492:MDG
1339:EMI
1136:HMV
1090:RCA
1021:HMV
687:coda
647:and
600:and
487:The
361:and
259:in G
147:(in
133:(in
85:1791
81:1791
2894:by
2783:doi
2689:doi
2685:110
2661:doi
2616:doi
307:in
109:in
105:'s
47:Key
27:by
2999::
2817::
2789:.
2779:28
2777:.
2771:.
2749:22
2747:.
2743:.
2728:.
2695:.
2683:.
2657:10
2655:.
2651:.
2622:.
2614:.
2503:.
2422:.
2418:.
2356:.
2311:;
2300:^
2208:^
2156:^
2092:^
2077:^
2049:^
2034:^
1797:,
1746:—
1670:de
1558:nl
1526:—
954:.
950:,
532:.
334:.
115:K.
113:,
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2876:t
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2669:.
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2515:.
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2191:.
675:.
655:.
574:2
570:3
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61:K
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