The Old City String Quartet and clarinetist Ruokai Chen perform Wolfgang Amadeus Mozart’s Clarinet Quintet (Quintet in A major for Clarinet and Strings), K. 581.

The Old City String Quartet and clarinetist Ruokai Chen perform Wolfgang Amadeus Mozart’s Clarinet Quintet (Quintet in A major for Clarinet and Strings), K. 581.

Mozart’s Clarinet Quintet

Mozart’s Clarinet Quintet in A major, K. 581, is one of the most beloved chamber works in the classical repertoire, celebrated for its lyrical beauty and the intimate dialogue between the clarinet and strings. Composed in 1789, this quintet highlights Mozart’s masterful use of the clarinet, an instrument he evidently adored, as showcased by his Clarinet Concerto, composed around the same period.

The Clarinet Quintet was written for Mozart’s friend and fellow Freemason, Anton Stadler, a virtuoso clarinetist known for his ability to play with a particularly rich and warm tone. The quintet is scored for clarinet, two violins, viola, and cello. This combination allows for a rich interplay of textures and timbres, with the clarinet both blending and contrasting with the strings throughout the piece.

Anton Stadler
Anton Stadler (28 June 1753, Bruck an der Leitha – 15 June 1812, Vienna), the Austrian clarinet and basset horn player for whom Wolfgang Amadeus Mozart wrote, amongst others, both his Clarinet Quintet (K 581) and Clarinet Concerto (K 622).

The work is renowned for its perfect balance and the way it gives the clarinet a starring role while still allowing intricate interactions among the five instruments. The strings provide a lush, harmonic backdrop to the clarinet’s melodies, with passages where the clarinet and strings converse as equals, creating a sense of musical democracy rarely achieved with such grace.

Structurally, the quintet unfolds across four movements that explore a range of emotions, from lyrical serenity to playful exuberance, all the while maintaining a sublime elegance. Mozart’s writing here is both sophisticated and accessible, characterized by melodic richness and harmonic clarity. The quintet is often noted for its operatic qualities, with the clarinet assuming the role of a virtuoso singer amidst a supportive string ensemble.

The Clarinet Quintet is considered a key work in chamber music, combining Mozart’s melodic inventiveness with his skill in compositional form. It reflects his mature style, where every note and every pause is crafted with intention, creating an atmosphere that is at once joyful and introspective.

The quintet received its premiere on 22 December 1789 with the solo clarinet part taken by Stadler.

Mozart’s Clarinet Quintet remains a profound testament to Mozart’s genius, merging technical mastery with deep emotional resonance, and it continues to be a favorite among both performers and audiences for its depth of expression and flawless structural beauty.


The quintet consists of four movements. With the start times in the video:

  1. Allegro: 00:00
  2. Larghetto: 09:09
  3. Menuetto: 15:30
  4. Allegretto & variations: 22:17

1. Allegro, 2/2

The first movement of Mozart’s Clarinet Quintet in A major, K. 581, titled “Allegro,” is a splendid display of musical conversation and elegant structure, beautifully showcasing the clarinet’s capabilities alongside the string quartet. This movement is marked by its lyrical grace and intricate interplay between the clarinet and the strings, setting the tone for the rest of the quintet.

The movement opens with a light, flowing theme introduced by the strings, which sets a serene and inviting atmosphere. The clarinet soon enters, echoing and then expanding upon this theme. Mozart’s treatment of the clarinet in this movement is particularly noteworthy; he exploits the full range of the instrument, from its rich, warm lower notes to its bright, clear upper register. The clarinet’s lines are singable and expressive, often soaring above the strings in a way that resembles an operatic aria.

The dialogue between the clarinet and the strings is one of mutual respect and partnership. The strings not only provide a harmonic foundation but also engage actively with the clarinet, echoing its phrases and sometimes taking the lead in the musical conversation. This back-and-forth creates a texture that is both rich and transparent, allowing each voice to be heard clearly.

Mozart employs a sonata form for this movement, a common choice for opening movements of his chamber works. This form consists of an exposition, where the main themes are presented; a development, where these themes are explored and varied; and a recapitulation, where the original themes return, often with a new perspective. In the exposition, the primary and secondary themes are clearly delineated, with the clarinet playing a prominent role in defining the thematic material.

During the development section, Mozart creatively manipulates the themes, moving through different keys and offering new rhythmic and melodic variations. This section intensifies the interplay between the clarinet and strings, showcasing Mozart’s skill in thematic development and his ability to maintain musical interest.

The recapitulation brings a return of the opening themes, now familiar and yet refreshed by their developmental journey. The movement concludes with a coda that reaffirms the main themes, bringing the movement to a satisfying close with a sense of completeness and balance.

2. Larghetto, 3/4 in D major

The second movement of Mozart’s Clarinet Quintet in A major, K. 581, titled “Larghetto,” is a sublime and tender piece that showcases the clarinet’s lyrical capabilities. This movement is widely appreciated for its serene beauty and the emotional depth it conveys through simple yet profound musical expressions.

The “Larghetto” opens with a gentle, flowing melody that the clarinet introduces, setting a calm and reflective mood. This melody is warm and soothing, characterized by long, singing lines that highlight the clarinet’s ability to sustain tone and express emotion. The clarinet’s part is both expressive and introspective, drawing listeners into a deeply personal musical experience.

The strings provide a soft, supportive background to the clarinet, creating a lush harmonic cushion that enhances the soloist’s melodic lines. The interaction between the clarinet and the strings is delicate and finely balanced. The strings occasionally echo the clarinet’s themes, adding depth to the texture and reinforcing the movement’s introspective character.

Structurally, the movement is relatively straightforward, focusing on the development of a single, cohesive theme. Mozart’s genius in this movement lies in his ability to develop and vary this theme subtly, exploring different harmonic colors and dynamic shades without losing the overall sense of calm and tranquility.

The clarinet’s melodies in this movement are particularly notable for their smooth, flowing quality, which requires a high degree of control and sensitivity from the performer. The mood remains consistently soft and gentle throughout, with only slight fluctuations in dynamics to enhance the expressive quality of the music.

As the movement progresses, there is a profound sense of unfolding, as if each note and phrase adds to a narrative that is both poignant and comforting. The conclusion of the “Larghetto” is understated, with the clarinet and strings gradually winding down to a quiet and peaceful resolution, leaving a lasting impression of tranquility and warmth.

3. Menuetto with Trio I in A minor and Trio II in A major, 3/4

The third movement of Mozart’s Clarinet Quintet in A major, K. 581, titled “Menuetto,” offers a delightful contrast to the serene and introspective second movement. This movement, structured traditionally as a minuet with a trio section, exhibits classical elegance and a playful interplay between the clarinet and the string quartet.

The minuet portion of the movement features a rhythmic, dance-like quality typical of this form, characterized by its graceful, balanced phrasing and light stepping motion. The main theme is presented by the strings and soon joined by the clarinet, which adds a layer of melodic embellishment and interaction. This section is marked by its clarity and formal symmetry, reflecting the courtly dance origins of the minuet.

Mozart skillfully employs the clarinet not just as a melodic leader but as an equal participant in the ensemble, allowing it to weave in and out of the texture with agility and charm. The interplay between the clarinet and the strings creates a lively conversational dynamic, with each instrument contributing to the overall dance-like atmosphere.

Following the minuet, the trio section offers a contrasting theme, typically softer and often more lyrical in nature. In this quintet, the trio provides a moment of lyrical reprieve where the clarinet takes on a more dominant and expressive role, supported gently by the strings. This part of the movement showcases the clarinet’s ability to sing sweetly above the understated accompaniment of the strings.

The trio’s theme is characterized by its smooth, flowing lines and a slightly more relaxed tempo, providing a soothing middle section before the return of the minuet. Mozart’s composition here demonstrates his skill in creating effective contrast within a single movement, enhancing the overall impact of the minuet when it reappears.

After the trio, the minuet theme returns, reestablishing the lively dance character of the opening. This recapitulation is a key feature of the minuet form, providing a sense of structural unity and balance. The movement concludes with a reiteration of the graceful, rhythmic dance theme, finishing on a note of classical poise and elegance.

4. Allegretto con variazioni, A major (Variation III in A minor)

The fourth movement of Mozart’s Clarinet Quintet in A major, K. 581, titled “Allegretto con Variazioni,” serves as a captivating and inventive finale to the quintet. This movement is structured as a theme with variations, providing a showcase for the clarinet’s versatility and the ensemble’s ability to explore different textures and moods within a cohesive framework.

The movement begins with a simple, charming theme introduced by the clarinet and echoed by the strings. This theme sets the stage for a series of variations, each transforming the original material in unique and creative ways. The theme itself is lyrical and has an easy, flowing character that lends itself well to elaboration and development.

Each variation explores different aspects of the theme, showcasing Mozart’s compositional brilliance and the performers’ technical and expressive capabilities. The variations are diverse in style and character, ranging from intricate and florid to more robust and rhythmic. Some variations emphasize the virtuosic capabilities of the clarinet, featuring rapid runs, trills, and arpeggios, while others focus more on the ensemble, allowing the strings to take a more prominent role.

One of the variations might be playful and light, utilizing staccato notes and brisk tempos, while another could be more introspective, featuring legato lines and a softer dynamic. This diversity not only keeps the movement engaging but also highlights the clarinet’s ability to blend and contrast with the strings.

Throughout the variations, the interplay between the clarinet and the string quartet is maintained, with the clarinet often leading the thematic developments. The strings provide a rich harmonic and rhythmic foundation that supports the clarinet’s explorations. The dialogue between the instruments continues to be a defining feature of the quintet, with each variation offering new insights into the capabilities of the ensemble.

The final variation culminates in a more vigorous and conclusive rendition of the theme, bringing the movement and the quintet to a joyful and satisfying close. This last variation typically combines elements from the previous variations and adds a sense of finality and celebration, often with a faster tempo and a more pronounced rhythmic drive.

The Old City String Quartet

Joel Link (violin), Bryan Lee (violin), Milena Pajaro-van de Stadt (viola) and Camden Shaw (cello)

The quartet is the winner of the 2010 Fischoff National Chamber Music Competition. Founded in 1973 in South Bend, Indiana, the Fischoff National Chamber Music Competition has grown to become the largest chamber music competition in the world, and one of the most prestigious classical music prizes attainable today. Since its founding, more than 5,000 musicians have participated, many of whom have gone on to distinguished careers in music performance and education.

Mozart: Clarinet Quintet in A major for Clarinet, performed by the Old City String Quartet and Ruokai Chen
The Old City String Quartet and clarinetist Ruokai Chen perform Wolfgang Amadeus Mozart’s Clarinet Quintet in A major for Clarinet and Strings, K. 581.


M. Özgür Nevres

Published by M. Özgür Nevres

I am Özgür Nevres, a software engineer, a former road racing cyclist, and also an amateur musician. I opened to share my favorite music. I also take care of stray cats & dogs. This website's all income goes directly to our furry friends. Please consider supporting me on Patreon, so I can help more animals!

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