A clarinet concerto is a work for solo clarinet and orchestra, usually in three movements, that showcases the instrument's lyrical and virtuosic potential. Landmark examples include Mozart's Clarinet Concerto in A major, K.622 (1791, written for basset clarinet), Weber's Concertos (Op.73 & Op.74 for Heinrich Baermann), Nielsen's Concerto (1928), and Copland's Clarinet Concerto (1948).
Overview: What is a clarinet concerto and why it matters
A clarinet concerto is a large scale composition for solo clarinet and orchestra, often in three movements, designed to highlight the instrument's color, agility, and expressive range. It typically features virtuosic passagework, lyrical slow movements, and cadenzas that allow the soloist to display technical mastery and personal interpretation.
For clarinetists, concerto study is a central path to professional level playing. Mozart, Weber, Copland, and Nielsen concertos appear in conservatory juries, orchestral auditions, and international competitions. Working on these pieces develops tone, articulation, phrasing, rhythmic control, and stamina at a level that everyday etudes and orchestral excerpts rarely demand.
For listeners, clarinet concertos trace the instrument's evolution from late 18th century newcomer to a fully integrated orchestral and solo voice in the 20th century. Comparing Mozart's transparent textures with Copland's jazz inflections or Nielsen's dramatic confrontations with the orchestra reveals how composers heard the clarinet in their own time.
Key historical milestones (18th-20th century) and notable dates
The clarinet emerged from the chalumeau around 1700, with early solo roles appearing in Mannheim and Vienna. Johann Stamitz and Carl Stamitz wrote some of the first clarinet concertos in the 1740s and 1770s, often for court players like Joseph Beer. These works already explored the new clarion register that distinguished the clarinet from its chalumeau ancestor.
By the late 18th century, the clarinet was a regular orchestral voice. Mozart wrote significant clarinet parts in his symphonies and operas, culminating in the Clarinet Concerto in A major, K.622 (1791). Written for Anton Stadler and his basset clarinet, it expanded the low register and set a lyrical standard that still defines the instrument for many listeners.
In the early 19th century, Carl Maria von Weber transformed the clarinet concerto into a virtuosic Romantic vehicle. His Clarinet Concerto No. 1 in F minor, Op.73 (1811) and Clarinet Concerto No. 2 in E flat major, Op.74 (1811) were written for the virtuoso Heinrich Baermann. These concertos, along with the Concertino Op.26 (1811), pushed technique, range, and dramatic contrast far beyond Classical models.
Later in the 19th century, the clarinet concerto became less central but still important. Louis Spohr, Franz Krommer, and Johann Nepomuk Hummel contributed works that bridged Classical and Romantic styles. Johannes Brahms did not write a concerto but his Clarinet Quintet Op.115 (1891) and Clarinet Sonatas Op.120 (1894) deeply influenced how composers wrote for the instrument's dark, vocal tone.
The 20th century brought a new wave of concertos that reflected modern harmony and rhythm. Carl Nielsen's Clarinet Concerto, Op.57 (1928) for Aage Oxenvad presented the clarinetist as a protagonist in conflict with the orchestra, with extreme dynamics and character shifts. Paul Hindemith, Jean Francaix, and Malcolm Arnold added their own concertos, each with distinctive national flavors.
Aaron Copland's Clarinet Concerto (1948), written for Benny Goodman, fused classical form with jazz inflection and Latin rhythms. Its two movement structure, connected by a cadenza, and its transparent scoring made it a 20th century classic. Later works by John Corigliano (1977), Magnus Lindberg (2002), and others continue to expand the concerto's technical and expressive boundaries.
Canonical clarinet concertos – Mozart, Weber, Copland, Nielsen, Brahms and others
The core clarinet concerto repertoire in conservatories centers on Mozart K.622, Weber's concertos, Nielsen Op.57, and Copland's Clarinet Concerto. Around these pillars stand important works by Spohr, Krommer, Francaix, Hindemith, and contemporary composers such as Corigliano and Lindberg. Each piece tests different aspects of a player's technique and musical imagination.
Mozart: Clarinet Concerto in A major, K.622 (1791)
Mozart's Clarinet Concerto in A major, K.622, completed in 1791, was originally written for basset clarinet and Anton Stadler. The three movements (Allegro, Adagio, Rondo) showcase the instrument's singing quality, particularly in the Adagio, where long phrases and subtle dynamic shading are important. The concerto balances soloist and orchestra in a chamber like dialogue.
Most modern performances use a standard A clarinet edition that transposes or rewrites the original low basset notes. Historically informed performers increasingly return to basset clarinet versions that restore Mozart's full range. For advanced students, K.622 is a benchmark for legato, intonation, and Classical style clarity rather than sheer virtuosity.
Weber: Concertos Op.73 & Op.74 and Concertino Op.26
Carl Maria von Weber's Concertino in E flat major, Op.26 (1811), Clarinet Concerto No. 1 in F minor, Op.73 (1811), and Clarinet Concerto No. 2 in E flat major, Op.74 (1811) were composed for Heinrich Baermann. These works demand rapid articulation, wide leaps, and secure altissimo control, along with expressive Romantic phrasing and rubato.
Concerto No. 1 features a dramatic first movement, a lyrical Romanze, and a brilliant finale with technical fireworks. Concerto No. 2 explores character contrasts, from operatic cantabile to playful virtuosity. The Concertino, though shorter, contains challenging runs and leaps that make it a common audition piece and a stepping stone toward the full concertos.
Nielsen: Clarinet Concerto, Op.57 (1928)
Carl Nielsen's Clarinet Concerto, Op.57, written in 1928 for Aage Oxenvad, is a single continuous movement divided into contrasting sections. The clarinet engages in a quasi dramatic struggle with the orchestra, especially the snare drum. The writing demands extreme dynamic control, rapid mood changes, and flexible tone color across all registers.
The concerto uses chromatic harmony, asymmetrical phrases, and sudden tempo shifts. It tests a player's ability to project through a modern orchestra while maintaining clarity of articulation and pitch. Many conservatories treat Nielsen as a capstone concerto, suitable after solid mastery of Mozart and Weber.
Copland: Clarinet Concerto (1948)
Aaron Copland's Clarinet Concerto, completed in 1948 for Benny Goodman, has two contrasting movements linked by a cadenza. The first movement is lyrical and reflective, with transparent scoring for strings and harp. The second movement is rhythmically driven, with jazz and Brazilian influences, syncopation, and glissandi that recall Goodman's swing background.
The cadenza bridges the two movements and introduces thematic material that returns in transformed form. Players must balance classical purity of tone with idiomatic jazz inflection, especially in off beat accents and slides. Copland's precise dynamic and articulation markings reward careful study of the autograph and authoritative editions.
Brahms and the concerto tradition
Johannes Brahms did not write a clarinet concerto, but his late clarinet works shape how players approach Romantic concerto style. The Clarinet Quintet in B minor, Op.115, and the Clarinet Sonatas in F minor and E flat major, Op.120, demand long line phrasing, warm chalumeau tone, and flexible rubato. These same qualities are central in Weber, Spohr, and later Romantic concertos.
Studying Brahms chamber music alongside Weber concertos helps players develop a broader sense of Romantic rhetoric. Breath planning, harmonic awareness, and inner voice listening transfer directly to concerto performance, where the soloist must phrase with orchestral strings and winds as sensitively as with a string quartet or piano partner.
Other important concertos
Louis Spohr's four clarinet concertos (1811 to 1829), especially Concerto No. 1 in C minor, Op.26, are substantial Romantic works with lyrical slow movements and operatic gestures. Franz Krommer's concertos and concertinos offer Classical style clarity with technical challenges suitable for advanced students preparing for Weber.
In the 20th century, Hindemith's Clarinet Concerto (1947), Jean Francaix's Concerto (1967), and Malcolm Arnold's Concerto No. 2 (1974) broadened the repertoire with neoclassical, witty, and sometimes satirical writing. Contemporary concertos by John Corigliano (1977), Ellen Taaffe Zwilich (2003), and Magnus Lindberg (2002) push range, color, and stamina, often using extended techniques and complex rhythms.
Instrument variations and anatomy: basset clarinet vs. standard clarinet
The standard orchestral clarinets are the B flat and A clarinet, with written range from low E to high C or higher, divided into chalumeau, throat, clarion, and altissimo registers. Mozart's K.622, however, was written for a basset clarinet in A, which extends the lower range down to written low C or B, enriching the chalumeau register.
A basset clarinet adds extra keys and tone holes to accommodate the extended lower notes. These keys are usually operated by the right hand thumb and sometimes additional fingers, depending on the design. The longer bore and additional tubing subtly affect response and intonation, especially in the low register and at the break between chalumeau and clarion.
In Mozart's original version, many key phrases descend into the basset range, creating a darker, more vocal color. Standard clarinet editions often transpose these lines up an octave or revoice them, which changes the balance between registers. Historically informed performers choose basset clarinet to recover Mozart's intended register contrasts and voice leading.
For Weber, Nielsen, and Copland, the standard B flat and A clarinets are assumed. Weber's concertos typically use B flat clarinet, exploiting its brilliance and agility. Nielsen and Copland often specify A clarinet for certain passages to ease key signatures or achieve a particular timbre, so players must be comfortable switching instruments within a program or even within a work.
Keywork evolution also shapes concerto technique. Early 19th century clarinets had fewer keys and less even intonation, influencing Weber's fingerings and technical patterns. Modern Boehm system instruments provide more alternate fingerings and stable pitch, but players still need to understand register tendencies and resonance fingerings to manage intonation in exposed concerto passages.
Technical challenges in concerto repertoire and targeted practice techniques
Clarinet concertos compress nearly every technical demand of the instrument into a single work. Players face rapid scalar runs, arpeggios across the break, wide leaps, altissimo passages, and complex articulation patterns. Each major concerto emphasizes a different mix of challenges, so practice strategies must be tailored to the specific piece and movement.
Mozart K.622 focuses on legato control, evenness across registers, and clean articulation at moderate tempos. The main technical risk is uneven tone or pitch when crossing the break in lyrical lines. Slow, slurred practice of problematic bars, with special attention to finger coordination and air support, builds the smooth connection that Classical style demands.
Weber's concertos introduce rapid runs, broken arpeggios, and octave plus leaps that test embouchure stability. Practice these passages first as rhythms simplified into long notes, then as dotted patterns, and finally at tempo. Use rhythmic grouping of 4 or 6 notes to stabilize finger patterns, and practice slurred before adding staccato or accents.
Nielsen's concerto challenges dynamic extremes and register jumps under pressure. Sections that leap from low chalumeau to high clarion or altissimo require slow interval practice with a tuner, focusing on voicing and tongue position. Practice crescendos and diminuendos on single notes in all registers to build the control needed for sudden character changes.
Copland's concerto combines legato playing with syncopated rhythms and glissandi. For the cadenza and second movement, isolate rhythmic cells and practice them with a metronome on off beats to internalize swing influenced patterns. For glissandi, experiment with finger slides and embouchure flexibility, always maintaining core sound rather than a thin smear of pitch.
General concerto preparation should include daily scale and arpeggio work in the keys of the concerto, extended to three octaves where possible. Practice articulation patterns (single, light double tongue if used, and mixed slur tonguing) at various dynamics. Record practice sessions to check for rushed runs, uneven note lengths, or unintentional accents.
Interpretation and stylistic guidance by era (Classical, Romantic, 20th century)
Stylistic awareness is as important as technical command in concerto performance. Mozart, Weber, and Copland require different approaches to vibrato, articulation, rubato, and tone color. Understanding historical context and performance practice helps clarify choices that might otherwise feel subjective or arbitrary.
In Classical repertoire like Mozart K.622, aim for a clear, focused tone with minimal vibrato, used as an ornament rather than a constant feature. Articulation should be light and speech like, with short notes lifted rather than punched. Rubato is subtle, often limited to small agogic delays at phrase peaks or cadences, coordinated with the conductor.
Romantic concertos such as Weber and Spohr invite a warmer sound and more frequent vibrato, though taste and national style matter. Phrases can breathe more flexibly, with rubato that stretches and compresses time while maintaining an underlying pulse. Dynamic contrasts are broader, and portamento style connections between notes may appear in lyrical passages.
In 20th century works like Nielsen and Copland, style depends heavily on the composer. Nielsen often demands a raw, sometimes rough edge to the sound in dramatic sections, contrasted with pure, almost Classical tone in lyrical episodes. Accents and sforzandi should be clear and sometimes aggressive, reflecting the concerto's conflict driven narrative.
Copland's style is lean and transparent. Vibrato is generally sparing, with emphasis on clean attacks, precise rhythm, and clear pitch. Jazz inflected passages should swing in feel but not lose rhythmic clarity. Study Copland's own recordings and those of Benny Goodman and other early interpreters to understand the balance between classical and jazz idioms.
Across all eras, phrasing should follow harmony and line. Mark cadences, sequences, and modulation points in the score, and shape dynamics and timing to reflect these structures. Listen to multiple recordings, but always return to the score to verify that interpretive choices align with the written markings and the composer's language.
Preparing for performance: editions, cadenzas, and recommended recordings
Choosing reliable editions and reference recordings is important for serious concerto preparation. Advanced students and professionals should compare at least two scholarly editions when possible, and listen critically to several recordings to understand interpretive possibilities rather than to copy any single performance.
For Mozart K.622, look for urtext editions from major publishers that include both standard clarinet and basset clarinet versions. Compare the reconstructed basset lines with the traditional version to understand how register choices affect phrasing. Some editions include alternative cadenzas or ornamentation suggestions for repeated passages.
Weber's concertos exist in several editions that differ in articulation, dynamics, and even some notes, reflecting performance traditions and early sources. Choose an edition with a clear critical report if possible. For cadenzas in Weber, many performers play written out passages where Weber left fermatas, while others create short improvisatory flourishes that fit the style.
In Copland's Clarinet Concerto, the cadenza is fully written by the composer, but there are still interpretive choices about pacing and rubato. Use an edition that reflects Copland's final revisions. For Nielsen, consult editions that incorporate corrections from the composer's manuscripts and early performances, as some articulations and dynamics were adjusted after the premiere.
Recommended recordings for Mozart include performances on both modern and basset clarinet by artists such as Sabine Meyer, Martin Fröst, and Sharon Kam, each offering distinct approaches to tempo and ornamentation. For Weber, recordings by Karl Leister, Sabine Meyer, and Andrew Marriner provide benchmarks for Romantic style and technical polish.
For Copland, Benny Goodman's own recording with the composer conducting is historically important, while later recordings by Richard Stoltzman and Martin Fröst show different balances between classical and jazz elements. For Nielsen, recordings by Kjell-Inge Stevensson, Martin Fröst, and Sabine Meyer highlight contrasting approaches to the concerto's volatility and lyricism.
Maintenance & instrument setup for concerto performance
Reliable instrument setup is important for concerto performances, where exposed passages and high stakes amplify any mechanical or reed issues. A structured maintenance routine before and during a concerto cycle helps minimize surprises on stage and allows the player to focus on musical decisions rather than equipment problems.
At least several weeks before a performance, schedule a checkup with a trusted technician to inspect pad seating, spring tension, and key regulation. Ask specifically about the evenness of the break between throat tones and clarion, as well as the stability of low E and F, which often appear in soft entrances in Mozart and Copland.
Reed selection and rotation should begin well before the concert. Prepare a rotation of at least 4 to 6 reeds that all play comfortably and in tune on your concerto setup. Use reeds of consistent strength, adjusted to allow full dynamic range without biting in the altissimo or losing core in the chalumeau.
Mouthpiece and ligature choice should support the concerto's demands. For Mozart and Weber, many players prefer a facing that allows clear articulation and centered pitch, paired with a medium strength reed. For Nielsen and Copland, a setup that offers slightly more projection and flexibility may help with extreme dynamics and color shifts.
HowTo: 10 minute pre concert warmup routine
Use a focused 10 minute warmup before going on stage to stabilize tone, response, and fingers without tiring the embouchure. This routine should cover long tones, scales, articulation, and a few key excerpts from the concerto, always at a moderate volume to conserve energy.
- Minutes 1-3: Long tones from low E to throat A, then up to clarion G, holding each note for 8 counts at mf, then repeating with crescendos and diminuendos.
- Minutes 3-5: Slow scales in the concerto's main key, two octaves, slurred, focusing on even tone and smooth register crossings.
- Minutes 5-7: Articulation patterns on a comfortable mid range note: 4 slurred, 4 tongued; then 2 slurred, 2 tongued, at soft and medium dynamics.
- Minutes 7-9: Isolate one or two tricky leaps or runs from the concerto, played slowly, then at about 80 percent of performance tempo.
- Minute 10: Quietly play a few bars from the opening and a soft entrance from later in the piece, focusing on breath and mental focus.
After warming up, swab the instrument, check that all joints are fully assembled and aligned, and confirm that the reed is centered and securely fastened. Keep a backup instrument or at least a second mouthpiece and reed ready in case of last minute issues, especially for professional concerto appearances.
Troubleshooting common performance problems and fixes
Even with careful preparation, concerto performances can reveal recurring technical and musical issues. Anticipating common problems and having specific fixes ready helps players recover quickly in rehearsal and performance. Many challenges relate to intonation, response, endurance, and control in exposed passages.
Intonation in the chalumeau and throat tones is a frequent concern in Mozart and Copland. If low notes sag flat, experiment with slightly firmer embouchure, faster air, and pushing the barrel in a millimeter. For sharp throat tones, use resonance fingerings where appropriate and relax the jaw while supporting with air, rather than pinching to raise pitch.
Insecure altissimo or wide leaps, especially in Weber and Nielsen, often stem from inconsistent voicing and air support. Practice leaps slowly with a focus on keeping the tongue high and forward for upper notes, while maintaining a steady air column. Use slurred interval exercises that move by octave and tenth to stabilize embouchure and finger coordination.
Endurance and tone consistency across a long concerto can suffer if breathing is not planned. Mark breaths in the part that align with phrase structure and orchestral texture, and practice staggered breathing techniques, where you take smaller, more frequent breaths instead of waiting for a single large one. Long tone conditioning at varied dynamics builds the stamina needed for extended Adagio movements.
Cadenzas present special challenges in control of vibrato, dynamics, and tempo freedom. Record yourself playing the cadenza at several different pacing choices, then listen for clarity of line and harmonic direction. Use micro dynamics within phrases to highlight important notes and reduce vibrato on dissonances or leading tones to maintain pitch focus.
Nervousness can exacerbate technical issues. Develop a pre performance routine that includes slow breathing, mental score review, and visualization of key entrances. In rehearsal, practice starting from difficult spots, not only from the beginning, so that you are comfortable recovering if something goes wrong in the middle of a movement.
Learning outcomes: what mastery of these concertos develops in a player
Serious study of the major clarinet concertos shapes a player's musicianship in ways that extend far beyond the pieces themselves. Each concerto targets different skills, and together they form a comprehensive curriculum for advanced and professional level clarinetists seeking solo, orchestral, or teaching careers.
Mozart K.622 refines phrasing and lyrical control. The Adagio demands long, sustained lines, impeccable intonation, and subtle dynamic shading. Players who master this movement typically gain a new level of breath control, legato smoothness, and sensitivity to harmonic direction that benefits all Classical and early Romantic repertoire.
Weber's concertos build secure technical facility for rapid passages and wide leaps. The combination of virtuoso runs, arpeggios, and dramatic contrasts strengthens finger speed, articulation clarity, and embouchure stability. These skills transfer directly to orchestral excerpts, contemporary works, and audition repertoire that require agile, confident technique.
Copland's Clarinet Concerto develops stylistic versatility and rhythmic precision. Negotiating jazz inflected phrasing, syncopation, and glissandi while maintaining classical tone and intonation prepares players for a wide range of 20th century and contemporary works. It also encourages a flexible sense of style that can adapt to different ensembles and conductors.
Nielsen's concerto cultivates orchestral communication and chamber like interplay. The soloist must respond to the orchestra's motives, especially the snare drum, and manage rapid shifts in character. This experience sharpens listening skills, cue awareness, and the ability to project a clear musical narrative in complex textures.
Collectively, these concertos foster interpretive maturity. Players learn to make informed decisions about tempo, articulation, vibrato, and rubato based on historical context and personal voice. This maturity is important for professional auditions, competitions, and teaching, where the ability to justify musical choices is as important as executing them cleanly.
Resources, archives and further reading (scores, recordings, maker histories)
For deeper study of clarinet concertos, combine scores, recordings, and historical sources. Urtext scores from major publishers provide reliable texts for Mozart, Weber, Nielsen, and Copland. Facsimiles of original manuscripts, where available, reveal details of articulation, dynamics, and phrasing that may differ from later editions.
Listening libraries and streaming services offer extensive recordings of each major concerto. Create playlists that compare different interpreters on the same work, noting variations in tempo, ornamentation, and tone color. Score study while listening helps internalize orchestral cues and balance issues, especially in tutti and transitional passages.
Historical studies of the clarinet's development, such as works on 18th and 19th century performance practice, clarify how early players approached articulation, ornamentation, and vibrato. Biographies of Anton Stadler, Heinrich Baermann, Aage Oxenvad, and Benny Goodman illuminate the personal collaborations behind Mozart, Weber, Nielsen, and Copland concertos.
Museum collections and archives that preserve historical clarinets, including instruments by makers associated with major soloists, offer insight into how instrument design influenced concerto writing. The Martin Freres legacy, for example, includes 19th and early 20th century clarinets used in European concert halls, reflecting the evolving expectations for projection, intonation, and keywork in solo and orchestral contexts.
Finally, masterclass videos, interviews with leading clarinetists, and conservatory lecture notes provide practical interpretive advice. Many artists discuss their approaches to Mozart K.622, Weber, Nielsen, and Copland in detail, including fingerings, breathing strategies, and collaboration with conductors. Use these resources to inform your own decisions, always testing ideas in practice and rehearsal.
Key takeaways
- Clarinet concertos from Mozart to Copland and Nielsen form a core curriculum that develops tone, technique, and stylistic versatility for advanced players.
- Understanding instrument history, especially the basset clarinet in Mozart K.622, deepens interpretive choices and informs equipment decisions.
- Targeted practice, reliable editions, thoughtful setup, and informed listening are important for confident, stylistically appropriate concerto performances.
FAQ
What is a clarinet concerto?
A clarinet concerto is a composition for solo clarinet and orchestra, usually in multiple movements, that highlights the instrument's lyrical and virtuosic capabilities. It often includes cadenzas, extended solo passages, and intricate interaction between the soloist and the orchestral ensemble.
Which clarinet concertos should every player know?
Every advanced clarinetist should know Mozart's Clarinet Concerto in A major, K.622, Weber's Concertos Op.73 and Op.74 and Concertino Op.26, Nielsen's Clarinet Concerto Op.57, and Copland's Clarinet Concerto. Important additional works include concertos by Spohr, Krommer, Hindemith, Francaix, Arnold, and Corigliano.
What is the difference between a basset clarinet and a standard clarinet?
A basset clarinet is an A or B flat clarinet with an extended lower range, typically down to written low C, achieved through extra tubing and keys. This extension enriches the chalumeau register and allows composers like Mozart to write phrases that descend below the standard clarinet's lowest note.
How should I practice the cadenzas and rapid passages in Weber's concertos?
Practice Weber's cadenzas and fast runs slowly with a metronome, using rhythmic variations and small note groupings to stabilize finger patterns. Start slurred to coordinate fingers and air, then add articulation. Record yourself to check clarity and evenness, and gradually increase tempo only when control and tone remain consistent.
Which editions and recordings are recommended for Mozart K.622 and Copland's Clarinet Concerto?
For Mozart K.622, use a reputable urtext edition that includes both standard and basset clarinet versions, and compare recordings by artists such as Sabine Meyer, Martin Fröst, and Sharon Kam. For Copland, choose an edition reflecting the composer's final revisions, and study recordings by Benny Goodman, Richard Stoltzman, and other leading interpreters.
