Accompanied by the Czech Philharmonic Orchestra, Israeli classical clarinetist Sharon Kam, one of the world’s leading clarinet soloists performs Wolfgang Amadeus Mozart’s Clarinet Concerto in A major, K. 622. Conductor: Manfred Honeck. Recorded live at the Estates Theatre in Prague on 27 January 2006.
Mozart’s Clarinet Concerto
The clarinet concerto was written in 1791, shortly before Mozart’s death, for the clarinetist and Mozart’s friend Anton Stadler (28 June 1753, Bruck an der Leitha – 15 June 1812, Vienna). Stadler’s playing inspired Mozart to explore the clarinet’s full range and expressive capabilities, leading to the creation of this masterful concerto.
The Clarinet Concerto is known for its lyrical beauty, intricate passages, and the seamless integration of the solo clarinet with the orchestral ensemble. The concerto exhibits Mozart’s signature elegance and clarity, coupled with a deep emotional resonance. The work showcases the clarinet’s ability to convey a wide range of emotions, from joyful exuberance to poignant introspection.
Movements
Mozart’s Clarinet Concerto consists of the usual three movements, in a fast-slow-fast form:
1. Allegro
The first movement of Mozart’s Clarinet Concerto is marked “Allegro” and is composed in the sonata form. This movement is characterized by its lyrical and graceful melodies, demonstrating Mozart’s ability to blend virtuosity with expressive beauty.
The movement begins with an orchestral exposition that presents the primary themes. The first theme is light and elegant, setting a joyful and serene tone. This is followed by a more lyrical and flowing second theme.
After the orchestra establishes these themes, the solo clarinet enters, echoing the first theme but adding its own expressive flourishes and nuances.
As the movement progresses, the clarinet and orchestra engage in a lively dialogue, with the clarinet displaying both technical prowess and melodic charm. The development section explores and elaborates on the themes, with the clarinet weaving intricate passages and exploring various registers of the instrument. The recapitulation brings back the main themes, with the soloist and orchestra now more integrated, leading to a spirited conclusion.
2. Adagio
The second movement of Mozart’s Clarinet Concerto is marked “Adagio” and is renowned for its sublime beauty and emotional depth. This movement stands out for its serene and lyrical character, often considered one of the most beautiful slow movements in the entire classical repertoire.
The “Adagio” opens with a gentle and expressive orchestral introduction, setting a tranquil and contemplative mood. The solo clarinet then enters with a long, flowing melody that is both simple and profoundly moving. This melody showcases the clarinet’s rich, warm tone and its ability to sustain long, lyrical lines.
Throughout the movement, the interplay between the clarinet and the orchestra is delicate and intimate. The clarinet weaves through the orchestral texture, with moments of solo introspection and passages where it blends seamlessly with the ensemble. The clarinet’s melody is characterized by its expressive phrasing and subtle nuances, highlighting Mozart’s skill in writing for the instrument.
The movement’s structure is relatively simple, allowing the beauty of the melody and the clarinet’s expressive capabilities to take center stage. The “Adagio” is marked by a sense of calm and serenity, offering a moment of introspection and emotional depth within the concerto.
This movement is widely admired for its purity of expression and its ability to convey deep emotions with an elegant simplicity. It remains a favorite among clarinetists and audiences alike, often evoking a sense of timeless beauty and tranquility.
3. Rondo: Allegro
The third movement of Mozart’s Clarinet Concerto is marked “Rondo: Allegro” and provides a lively and joyful conclusion to the concerto. This movement is structured as a rondo, a form characterized by the recurrence of a principal theme alternating with contrasting episodes.
The rondo theme is cheerful and spirited, introduced by the solo clarinet with a buoyant and dance-like melody. This theme recurs throughout the movement, serving as a unifying thread that ties together the various contrasting sections. Each return of the rondo theme brings a sense of familiarity and joy, inviting the listener back to its exuberant and infectious character.
The contrasting episodes in the movement offer opportunities for the soloist to showcase technical prowess and lyrical expression. These sections vary in mood and texture, providing a rich tapestry of musical ideas. The clarinet navigates rapid passages, intricate ornamentation, and lyrical phrases, demonstrating the instrument’s versatility and the performer’s virtuosity.
One of the notable features of this movement is Mozart’s clever interplay between the soloist and the orchestra. The clarinet often leads with new material or variations on the rondo theme, while the orchestra provides a supportive and dynamic accompaniment. This dialogue creates a lively and engaging musical conversation, full of wit and charm.
The “Rondo: Allegro” movement concludes the clarinet concerto on an energetic and celebratory note, leaving the listener with a sense of exhilaration. It perfectly encapsulates Mozart’s ability to blend technical brilliance with melodic beauty, making it a favorite among performers and audiences.
Sharon Kam
One of the leading clarinet soloists in the world, Sharon Kam (born 11 August 1971 in Israel) is a classical clarinetist. Notably, she won the ARD International Music Competition in 1992. In 1991 she was also nominated for the Davidoff Prize.
She is a graduate of the Juilliard School of Music, where she studied with Charles Neidich. She made her orchestral debut at the age of 16 with Israel Philharmonic and conductor Zubin Mehta and later performed with such orchestras as the Chicago Symphony Orchestra, Berlin Philharmonic, London Symphony Orchestra, and Leipzig Gewandhaus Orchestra. In 1998 she was awarded the German ECHO Klassik “Instrumentalist of the Year” award for her recording of Carl Maria von Weber’s clarinet concertos and again in 2006, for her CD with the Leipzig Radio Orchestra featuring works by Spohr, Weber, Rossini, and Mendelssohn.
Mozart’s clarinet masterpieces have been an object of artistic focus for Ms. Kam since the beginning of her career. At the age of 16, she performed the Mozart Clarinet Concerto in her orchestral debut with the Israel Philharmonic Orchestra and Zubin Mehta. A short time later, she performed the Clarinet Quintet with the Guarneri String Quartet in Carnegie Hall, New York.
As part of Mozart’s 250th birthday celebrations at the National Theatre in Prague, her interpretation of the Mozart concerto was televised live in 33 countries and is available on DVD. In the same year, she was able to realize her longtime dream of recording the Concerto and the Clarinet Quintet using the basset clarinet. Contributing to the widely praised disk were eminent string players Isabelle van Keulen, Ulrike-Anima Mathé, Volker Jacobsen, and Gustav Rivinus, as well as the Haydn Philharmonie.
As a passionate chamber musician, Sharon Kam regularly works with artists such as Lars Vogt, Christian Tetzlaff, Enrico Pace, Daniel Müller-Schott, Leif Ove Andsnes, Caroline Widmann, and the Jerusalem Quartet. She is a frequent guest at festivals in Schleswig-Holstein, Heimbach, Rheingau, Risør, Cork, Verbier, and Delft, as well as the Schubertiade festival. She is also an active performer of contemporary music and has premiered works by Krzysztof Penderecki (the Clarinet Concerto and Clarinet Quartet), Herbert Willi (the Clarinet Concerto, at the Salzburg Festival), Iván Erőd, and Peter Ruzicka (at Donaueschingen).
Sharon Kam feels at home in a variety of musical genres – from classical to modern music and jazz – a fact reflected in her diverse discography. She received the ECHO “Instrumentalist of the Year” award two times: in 1998, for her Weber recording with the Gewandhaus Orchestra of Leipzig and Kurt Masur, and in 2006, for her CD with the Leipzig Radio Orchestra featuring works by Spohr, Weber, Rossini, and Mendelssohn. Her “American Classics” disc with the London Symphony Orchestra, conducted by her husband Gregor Bühl, was awarded the Deutsche Schallplattenkritik Prize.
Her most recent recording is a CD entitled “Opera!” The critically acclaimed disc includes transcriptions of operatic arias by composers ranging from Rossini and Puccini to Wolf-Ferrari arranged for clarinet and chamber orchestra. The release was accompanied by an inaugural tour featuring Ms. Kam with the Württembergisches Kammerorchester, conducted by Ruben Gazarian. To mark the 100th anniversary of Max Reger’s death in 2016, her chamber music partners from her Mozart recording rejoined to record the clarinet quintets by Reger and Brahms (Edel | October 2015).
Sources
- Clarinet Concerto (Mozart) on Wikipedia
- Clarinet Concerto in A major, K. 622 (Mozart, Wolfgang Amadeus) on the International Music Score Library Project website
- Sharon Kam on Wikipedia
- Sharon Kam’s biography on SharonKam.com
