Clarinet Concerto in A, k622

Niall O'Loughlin;  Mozart;  King;  ECO;  Francis;  Spohr

doi:10.2307/961069

Mozart: Clarinet Concerto

10.1017/cbo9781139166737 ◽

1996 ◽

Cited By ~ 4

Author(s):

Colin Lawson

Keyword(s):

Clarinet Concerto

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Clarinet Concerto in A, K622; Horn Concerto in E[flat], K447

The Musical Times ◽

10.2307/958881 ◽

1975 ◽

Vol 116 (1583) ◽

pp. 49

Author(s):

Niall O'Loughlin ◽

Mozart ◽

Deinzer ◽

Cruts ◽

Collegium Aureum

Keyword(s):

Horn Concerto ◽

Clarinet Concerto

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BARBER: Toccata Festiva, op.36. PISTON: Prelude and Allegro. SOWERBY: Concertpiece. COLGRASS: Snow Walker. David Schrader (organ), Grant Park Orchestra c. Carlos Kalmar. Cedille CDR 90000 063. SIEGMEISTER: Clarinet Concerto. TUTHILL: Rhapsody. DELLO JOIO: Concertante for Clarinet and Orchestra. CONVERSE: Rhapsody. AVSHALOMOV: Evocations. Robert Alemany (cl), Czech National Symphony Orchestra c. Jo Ann Falletta. Albany TROY 502. HARRIS: Symphony No 2. GOULD: Symphony No 3. Albany Symphony Orchestra c. David Alan Miller. Albany TROY 515.

Tempo ◽

10.1017/s0040298203240079 ◽

2003 ◽

Vol 57 (223) ◽

pp. 73-74

Author(s):

Bret Johnson

Keyword(s):

Symphony Orchestra ◽

Clarinet Concerto ◽

Clarinet And Orchestra

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The New in Music (Part 2)

Tempo ◽

10.1017/s004029820005172x ◽

1954 ◽

pp. 26-33

Author(s):

Jürgen Balzer

Keyword(s):

Clarinet Concerto

In his Clarinet Concerto, composed in 1928, Carl Nielsen introduces his first movement with the following theme (quoted here in the C tonality of the repetition:

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MUSIC IN THE AGE OF COFFEE

Eighteenth Century Music ◽

10.1017/s1478570607000978 ◽

2007 ◽

Vol 4 (2) ◽

pp. 301-305 ◽

Cited By ~ 1

Author(s):

JOHN A. RICE

Keyword(s):

Almost All ◽

Clarinet Concerto

On 7–8 October 1791, about two months before his death, Mozart wrote to his wife: ‘Right after you left I played two games of billiards with Herr Mozart (who wrote the opera for Schikaneder’s theatre); then I sold my nag for 14 ducats; then I had Joseph summon Primus and bring me black coffee, with which I smoked a wonderful pipe of tobacco; then I orchestrated almost all of Stadler’s rondo’. In orchestrating the finale of the Clarinet Concerto under the influence of caffeine and nicotine, Mozart was very much a man of his age.

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Colin P. Lawson. Mozart: Clarinet Concerto. Cambridge Music Handbooks. Cambridge: Cambridge University Press, 1996. xi, 111 pp. ISBN 0-521-47384- 5 (hardcover), ISBN 0-521-47929-0 (softcover)

Canadian University Music Review ◽

10.7202/1014788ar ◽

1997 ◽

Vol 17 (2) ◽

pp. 83

Author(s):

Lorne Buick

Keyword(s):

Cambridge University ◽

Clarinet Concerto

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Clarinet Concerto in A k622; Horn Concerto No.3 in E Flat k447

The Musical Times ◽

10.2307/962726 ◽

1981 ◽

Vol 122 (1658) ◽

pp. 246

Author(s):

Niall O'Loughlin ◽

Mozart ◽

Deinzer ◽

Cruts ◽

Collegium Aureum

Keyword(s):

Horn Concerto ◽

Clarinet Concerto

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Analytic and Aesthetic Issues in Carl Nielsen’s Concerto for Clarinet and Orchestra

Carl Nielsen Studies ◽

10.7146/cns.v1i0.27721 ◽

2003 ◽

Vol 1 ◽

Author(s):

Daniel Grimley

Keyword(s):

Twentieth Century ◽

Large Scale ◽

Musical Language ◽

Generic Status ◽

Original Musical ◽

Orchestral Work ◽

Concerto Form ◽

Clarinet Concerto ◽

Analytical Technology ◽

Clarinet And Orchestra

Nielsen’s Clarinet Concerto is his last large-scale orchestral work, yet it has received considerably less analytical attention than his symphonies. This is partly because of the problematic generic status of the twentieth-century concerto, but also because of the work’s unusually complex musical language. In this paper, I outline an analytical technology for the work that builds on the notion of dialogue inherent within the concerto form. Nielsen’s concerto raises dialogue to the highest level of structure, and offers one of his most compelling and original musical narratives.

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