Mozart's Clarinet Concerto in A major, K.622, composed in 1791 only months before his death, is a three-movement concerto (Allegro, Adagio, Rondo) written for clarinetist Anton Stadler and originally scored for basset clarinet. Modern interpreters such as Sharon Kam highlight a smooth, liquid tone, long-breathed phrasing, clean articulation, and finely graded dynamics to reveal the work's operatic lyricism and classical clarity.
Mozart's Clarinet Concerto – Key Facts (K.622, 1791, Anton Stadler)
Mozart's Clarinet Concerto in A major, K.622, is his final completed instrumental concerto and one of the last works in his catalogue. Written in 1791 for the Viennese clarinetist Anton Stadler, it exists in three movements: Allegro, Adagio, and Rondo: Allegro. The surviving score reflects an adaptation from Mozart's original basset clarinet design.
The concerto is catalogued as K.622 in the Köchel catalogue of Mozart's works, which helps date it to the final months of his life in Vienna. Contemporary reports associate the premiere with a benefit concert for Anton Stadler in Prague. No autograph full score survives, so scholars reconstruct Mozart's intentions from early parts and later copies.
Anton Stadler, a close collaborator of Mozart, inspired several late clarinet works, including the Clarinet Quintet in A major, K.581. Stadler's playing and his experimental basset clarinet encouraged Mozart to explore the clarinet's vocal character and its deep, mellow low register. K.622 remains the central concerto in the clarinet repertoire for both students and professionals.
Historical Context: Composition Timing and the Basset Clarinet
Mozart composed the Clarinet Concerto in 1791, the same year as the opera “Die Zauberflöte” and the unfinished Requiem. This late period shows a synthesis of his operatic style, chamber writing, and interest in wind instruments. The concerto reflects a mature, transparent texture that leaves the clarinet line highly exposed, especially in the Adagio.
Archival evidence, including early parts and letters, indicates that Mozart originally conceived the concerto for basset clarinet in A, an instrument with an extended lower range. The surviving sources, such as early copies held in Berlin and other European libraries, show passages that descend below the modern A clarinet's written low E, confirming the basset design.
Performance history points to Anton Stadler's benefit concert in Prague on 16 October 1791 as the likely premiere. Reports from that time praise the expressive quality of Stadler's tone. For modern clarinetists, understanding this historical background helps shape decisions about instrument choice, phrasing style, and how to treat the reconstructed low passages.
Musicologists such as Alfred Einstein and later Köchel catalogue revisers have discussed K.622 in the context of Mozart's late style, noting its economy of means and deep expressive content. For performers, this context suggests an approach that balances classical clarity with a singing, almost operatic narrative line, especially in the slow movement.
Basset Clarinet vs Modern A Clarinet – Range and Practical Considerations
The original basset clarinet used by Anton Stadler was an A clarinet with an extended lower joint and additional keys. It allowed written notes down to low C, below the modern A clarinet's lowest written E. These extra notes appear in all three movements of K.622 and shape the melodic contour of several key phrases.
On a modern A clarinet, those basset notes must be adapted. Many traditional editions simply raise the lowest notes by an octave or alter the line to fit the standard range. Historically informed editions restore the original low notes and mark them for players using basset clarinet. Clarinetists must decide whether to perform on a basset clarinet or accept the altered melodic shapes.
From an instrument anatomy perspective, the extended lower joint of the basset clarinet adds tone holes and keys operated by the right hand and sometimes the thumb. This extra tubing darkens the low register timbre and increases the challenge of even response. Players must coordinate hand position carefully to avoid tension when moving between standard and extended keys.
In orchestral balance, the basset clarinet's low notes blend closely with violas, cellos, and bassoons, creating a warm foundation. On a standard A clarinet, transposed versions of those lines sit higher and can sound more soloistic. When adapting the part, aim to preserve the phrase direction and harmonic function, even if the exact pitch level changes.
For advanced students who do not yet own a basset clarinet, it is still valuable to study an edition that shows the original basset pitches. This helps you understand Mozart's voice leading and informs how you shape the line, even when playing the standard-range adaptation.
What Sharon Kam Teaches Us – Tone, Phrasing, and Narrative
Sharon Kam is widely admired for her interpretations of Mozart's Clarinet Concerto, especially in recordings with conductors such as Kurt Masur and orchestras like the Gewandhausorchester Leipzig. Her playing illustrates a “liquid” tone concept: even, flexible sound across all registers, with a clear core and minimal edge, suitable for classical style.
In Kam's Mozart, phrasing follows a vocal model. She shapes lines as if sung in Italian opera, with clear breathing points, gentle swells toward harmonic tension, and natural releases. Listen to her Adagio: each long phrase has a beginning, middle, and end, with dynamics that support the harmonic motion rather than simply growing and shrinking mechanically.
Kam's articulation is light and precise. In the Allegro and Rondo, she uses short, elegant tonguing that matches the transparency of the orchestral strings. Staccato notes are buoyant rather than percussive. This approach keeps the concerto within an 18th-century aesthetic, avoiding overly heavy or Romantic articulation that can obscure Mozart's clarity.
Her narrative sense is especially evident in transitions. For example, in the Allegro development, Kam subtly changes color and vibrato usage (often extremely minimal) to suggest different emotional states. She avoids large, sudden contrasts that feel external, preferring nuanced shifts that grow from the musical material itself.
For students, Kam's performances offer a model of how to combine technical security with emotional storytelling. Her intonation remains stable in soft dynamics, and her legato connects notes seamlessly, so the listener's attention stays on the musical line. Studying her recordings with score in hand can clarify how to balance elegance and expressivity in K.622.
Movement-by-Movement Interpretive & Technical Checklist (Allegro, Adagio, Rondo)
Allegro
The Allegro sets the classical character of the concerto: clear themes, balanced phrases, and transparent orchestration. Aim for a bright but not harsh tone in the opening solo entrance. Keep articulation light in the semiquaver runs, using minimal tongue motion and consistent air to avoid “pecking” at the notes.
Interpretively, think in four-bar and eight-bar units. Shape each phrase with a gentle rise toward the harmonic goal, then a release. In Sharon Kam's recordings, notice how she slightly leans on dissonances and appoggiaturas, then relaxes into resolutions. Avoid over-accenting bar lines; instead, let the harmonic rhythm guide your emphasis.
Technically, the Allegro demands even finger work and clean slurs across breaks. Practice the arpeggiated passages slowly with a drone on A to stabilize intonation and hand position. Use rhythmic variations to build control. Check that throat tones match the surrounding notes in color by adjusting voicing and air speed.
Adagio
The Adagio is the emotional heart of K.622. It requires long-breathed phrasing, stable intonation, and a centered, dolce sound. Plan your breaths carefully so that musical sentences feel continuous. Kam often chooses breaths at cadences or after suspensions resolve, preserving the sense of an unbroken vocal line.
Keep vibrato, if used at all, extremely discreet and primarily for expressive peaks. Focus instead on air support and subtle dynamic shading. In exposed high notes, maintain a low tongue position and open oral cavity to avoid sharpness. Practice sustaining pianissimo notes against a tuner and drone to train stability.
Finger coordination in the Adagio is deceptively challenging, especially in ornamented turns and grace notes. Keep ornaments light and integrated into the line, not as separate events. Aim for legato finger motion, minimizing finger height to prevent bumps in the sound. Record yourself to check for any unevenness in slurred intervals.
Rondo: Allegro
The Rondo combines playful character with technical brilliance. The main theme should sound effortless and dance-like, never rushed. Use a clear but gentle articulation, with short staccatos that still retain core to the sound. Kam's Rondo playing shows how to project joy without sacrificing elegance.
In the more virtuosic episodes, maintain rhythmic precision. Practice with a metronome on larger beats (half notes) to avoid micro-rushing within bars. Keep the fingers close to the keys to handle rapid alternations, especially across the break. Air support must remain continuous so that fast passages still sing.
Interpretively, think of the Rondo as a conversation between soloist and orchestra. Respond to orchestral motives with slight changes in color or articulation, as if replying in dialogue. Dynamic contrasts should be clear but not extreme, fitting within an 18th-century palette. Aim for a jubilant but refined conclusion.
Practice Techniques for Technical Challenges (articulation, intonation, legato)
Articulation in Mozart demands clarity without heaviness. Practice Allegro and Rondo passages on a single note, using the written rhythm but removing finger changes. Focus on a soft, quick tongue motion at the tip of the reed, supported by steady air. Then reintroduce the written notes, keeping the same tongue sensation.
For legato, especially in the Adagio, long-tone exercises across intervals used in the concerto are important. Sustain each interval slowly, listening for any bumps at the connection point. Use a slight finger anticipation, moving the fingers just before the air changes pitch, to keep the slur smooth.
Intonation work should target problem areas: throat tones, high A and B, and soft entrances. Practice with a drone on A or E, matching both pitch and color. In Sharon Kam's recordings, notice how consistent her pitch center is, even in very soft dynamics. Emulate this by practicing diminuendos into nothing while staying in tune.
Rhythmic stability benefits from subdivision practice. Take tricky passages and set the metronome on half tempo, then subdivide in your mind. Gradually increase speed while keeping the same internal subdivision. Alternate between playing and singing the line to internalize rhythm and phrase direction.
To integrate all these elements, use “performance runs” of small sections, such as 8 or 16 bars, at slightly under tempo. Record and evaluate tone, articulation, and intonation together. This mirrors how Kam's performances sound so natural: each technical element is already integrated into the musical whole.
Score and Recording Study: How to Use Editions and Sharon Kam's Performances
Choosing a score edition for K.622 is important. Look for urtext editions that clearly mark original basset notes, editorial suggestions, and articulation sources. Editions based on early parts from Berlin and other archives tend to reflect Mozart's intentions more closely than heavily romanticized 19th-century versions.
When studying Sharon Kam's recordings, always have the score open. Mark where her phrasing, dynamics, or articulations differ from your edition. Ask why those choices might make musical sense. For example, note where she slightly delays a resolution or softens an accent to preserve line continuity.
Compare at least two different Kam recordings if available, such as one with a modern symphony orchestra and another with a chamber ensemble. Differences in tempo, balance, and ornamentation will show how interpretation can adapt to context. Use timestamps in your score to reference specific moments you want to emulate or question.
Score study should include harmonic analysis of key sections, especially the Adagio. Mark cadences, modulations, and appoggiaturas. Understanding the harmony helps you decide where to shape dynamics and color changes. Kam's phrasing often aligns closely with harmonic tension and release, which you can adopt in your own interpretation.
Also examine how your chosen edition treats cadenzas or small embellishments. While K.622 does not contain large written cadenzas like some violin concertos, there are spots where tasteful ornamentation is historically appropriate. Listen to how Kam handles turns, grace notes, and small inflections, then design your own within classical style.
Troubleshooting Common Performance Problems (tuning, exposed lines, stamina)
Tuning issues often arise in the Adagio's soft, sustained notes. If pitch sags, increase air speed while keeping embouchure relaxed. If notes go sharp, especially in the high register, lower the tongue position slightly and think of a more open vowel shape. Practice problematic notes with a tuner, sustaining them at various dynamics.
Exposed lines can cause tension, which affects tone and intonation. In rehearsal, simulate performance pressure by playing the Adagio opening for a recording device or small audience. Focus on releasing unnecessary physical tension in the shoulders and throat. Sharon Kam's calm stage presence reflects this internal relaxation, which supports her stable sound.
Stamina is a real concern across the three movements, particularly for students. Build endurance by practicing longer sections at moderate dynamics, avoiding constant forte playing. Plan your breathing in advance and mark it in the score. Efficient breaths prevent overblowing and help maintain tone quality throughout the concerto.
Uneven low register response, especially if you use a basset clarinet, can disrupt phrases. Experiment with slightly more mouthpiece in the embouchure and a warmer, faster air stream. Practice descending scales into the lowest notes, keeping tone and volume even. Use long tones on the extended notes to stabilize their response.
Balance with the orchestra is another challenge. In tutti passages, avoid forcing your sound to compete. Instead, project with focus and resonance, not sheer volume. Listen to Kam's recordings for how she rides above the orchestra with a clear core rather than a wide, spread tone. In rehearsal, ask for feedback from the conductor about balance.
Performance-Ready Maintenance Checklist
Instrument maintenance directly affects your ability to realize these solutions. Before important rehearsals and performances, inspect pads for leaks, especially around throat tones and low F/C. Check that all keys move freely and apply a tiny amount of key oil to noisy or sluggish pivots if needed.
Confirm that corks on tenons and joints fit snugly without excessive force. Air leaks at joints can ruin soft passages in the Adagio. Test your mouthpiece fit and make sure the ligature holds the reed evenly. Rotate reeds in a small set, selecting those that produce a stable, centered sound at soft dynamics.
Weekly, swab the instrument thoroughly, clean tone holes gently, and visually inspect springs and screws. A small adjustment before a concerto cycle can prevent mid-performance problems. This routine care supports the kind of reliable, liquid tone that characterizes Sharon Kam's Mozart playing.
Further Resources and Recommended Recordings / Scores
For historical context, consult reference works such as the Köchel catalogue and scholarly articles on Mozart's late concertos. Grove Music Online and similar encyclopedias provide reliable information on K.622, Anton Stadler, and the development of the basset clarinet. These sources help verify dates, premiere details, and instrument design.
For scores, seek urtext editions that distinguish clearly between original basset notes and later adaptations. Editions that include a separate basset clarinet part and a standard A clarinet adaptation are ideal for study. Some publishers also provide critical commentary explaining editorial decisions, which can guide your interpretive choices.
Recommended recordings include Sharon Kam's Mozart Clarinet Concerto with the Gewandhausorchester Leipzig, which showcases her refined tone and classical phrasing. Also consider recordings on period instruments with basset clarinet, which highlight the original low extensions and offer insight into 18th-century sound worlds.
Listening broadly is valuable: compare Kam with artists such as Sabine Meyer or Martin Fröst to understand different approaches to tempo, articulation, and ornamentation. Use these comparisons not to copy any single version, but to clarify your own artistic priorities within Mozart's style.
Finally, work closely with a teacher or coach who knows the concerto well. Combine their feedback with your study of scores and recordings to build a coherent, personal interpretation. Over time, your understanding of K.622 will deepen, and the concerto can become a touchstone for your musical and technical growth.
Key Takeaways
- Mozart's Clarinet Concerto in A major, K.622, was composed in 1791 for Anton Stadler and originally written for basset clarinet, whose extended low range shapes many key phrases.
- Sharon Kam's interpretations highlight liquid tone, vocal phrasing, and refined articulation, offering a powerful model for advanced students and teachers.
- Effective preparation combines historical awareness, careful edition and recording study, focused practice on articulation, intonation, and legato, and consistent instrument maintenance.
- Movement-specific checklists and troubleshooting strategies help manage exposed lines, tuning, and stamina across Allegro, Adagio, and Rondo.
FAQ
What is Mozart Clarinet Concerto (K.622)?
Mozart's Clarinet Concerto in A major, K.622, is a three-movement concerto composed in 1791 for clarinetist Anton Stadler. It is Mozart's last completed instrumental concerto and was originally written for basset clarinet in A. The work is a cornerstone of the clarinet repertoire, prized for its lyricism and classical clarity.
What is a basset clarinet and how does it differ from a modern clarinet?
A basset clarinet is an A clarinet with an extended lower joint and extra keys that allow written notes down to low C, four semitones below the modern A clarinet's lowest written E. This extension darkens the low register and enables melodic lines in Mozart's K.622 that cannot be played at original pitch on a standard A clarinet.
How did Sharon Kam interpret the Mozart Concerto differently from other performers?
Sharon Kam's interpretations of K.622 emphasize a smooth, liquid tone, vocal-style phrasing, and light, precise articulation. Compared with some more Romantic readings, her approach tends to favor classical elegance, subtle dynamic shading, and nuanced color changes rather than large, overt gestures, while still conveying deep emotional content, especially in the Adagio.
What are the main technical challenges in the Adagio movement and how can I practice them?
The Adagio's main challenges include sustaining long, soft phrases with stable intonation, achieving smooth legato across wide intervals, and managing exposed entrances without tension. Practice long tones with a tuner and drone, slow interval slurs with careful finger anticipation, and planned breathing spots. Record yourself to monitor pitch and tone consistency.
Which editions or recordings should I study when preparing the concerto?
Use an urtext edition that clearly indicates original basset notes and editorial changes. For recordings, Sharon Kam's Mozart Clarinet Concerto with a major European orchestra is highly recommended for its classical style and refined sound. Complement this with at least one basset clarinet recording and another modern clarinetist to compare interpretive approaches.
