THE CLARINET IN MOZART'S S Reader, Ph. D. ECATERINA BANCIU "Gheorghe Dima" Music Academy Cluj-Napoca Ecaterina BANCIU, musicologist. Ph.D. in Music Musical Aesthetics (2006), Reader (Conducting Department, discipline: Score Reading). Publications in: Lucr ri de Muzicologie (Musicology Works), the journals: Muzica, Intermezzo and Studia Musica. Books published: Arhetipuri estetice ale rela iei ethos-affectus în istoria muzicii (Aesthetic Archetypes of the Relationship between Ethos and Affectus in Music History) (2006) and Itinerarii muzicologie: Mozart, Puccini, Todu, Terényi (Musicological Itineraries: Mozart, Puccini, Todu, Terényi) (2009). The history of the clarinet has not yet been completely figured out: its primitive form, of end-blown pipe-type wind instrument, with a single free beating reed (idioglot type), recently discovered in Africa (Benin, Ciad, Mali, Upper Volta, Nigeria) contradicts the old theories regarding the Middle Eastern origin of the clarinet 26. During the Ancient Egyptian empire there existed a double or triple clarinet, a variant of straight flute (pipe) made of cane, as evidenced by a bas-relief dated 2700, preserved in the museum of Cairo. Ancient Greece has left us the image of a historical clarinet in the form of the single reed aulos, represented on frescoes or painted vases and considered by organologists to be the ancestor of the chalumeau. The chalumeau underwent several changes and evolved into the European clarinet. The man credited with the development of the clarinet was J. Ch. Denner, a German instrument maker from Nuremberg. In 1690, Denner took a two-keyed chalumeau and added a third key to its upper part, i.e. to the part producing a maximum of vibrations and a minimum of air speed, thus creating a whole new register for the instrument. Officially, Denner introduced the clarinet under this name in 1701. The shrill timbre of the new register of the clarinet was called clarino by its constructor and was similar to the high-pitched sounds of the soprano trumpet. 26 Valeriu B rbuceanu, Dic ionar de instrumente muzicale, Editura Teora, Bucure ti 1999, p. 60. 17
Ivan Müller added 7-8 more keys to Denner's 4-5 keyed clarinet and improved the instrument by fitting it with a ring system. By applying the Böhm system to the clarinet, the Frenchman Buffet managed to produce any key in an incredibly wide range of dynamics 27. There is no exact record as to when the clarinet was first used in musical practice, as it was often marked as chalumeau or clarino, and its part performed by the flutist or oboist. Church instrumental ensembles used a small clarinet instead of the trumpet due to its more appropriate timbre. K. Birsak mentions Valentin RathgE flater's piece (1728) as the oldest church concerto in which a clarinetto vel lituo was used (lituus-horn, trumpet) 28. Toward the end of the Baroque period, in improvisational salon music, the clarinet was preferred to the trumpet. In opera, the clarinet was first used by M. A. Ziani in Caio Pompilio (Italy 1704), and later by A. M. Bononcini in Conquista delle Spagne (1707). In Hamburg, in 1710, Reinhard Keiser wrote a score for clarinet for the opera Croesus, then Vivaldi used it in Italy (1716, Juditha triumphans), J. Ph. Rameau in France (1749 Zoroastre and 1751 Acante et Céphise), and J. Ch. Bach in England (1762, Orione). In a late copy (1744-1745) of Händel's opera Tamerlano (1724), the original cornet part was replaced by clarinets. Stamitz composed a Symphony with clarinet and hunting horns (1755), and J. Haydn wrote a Trio from the mass Incarnatus for two clarinets and bassoon. The Bohemian clarinet of Mozart's time had already evolved somewhat further, and especially its chamuleau register was more fully exploited by him than by other composers. His admiration for the timbre of this instrument can be seen in a letter to his father: "Oh! If only we had clarinets! ", he regretfully wrote in 1778, after his visit to Mannheim 29. The origins of the alto clarinet (the basset horn), like those of the clarinet itself, have not yet been completely elucidated. The Oberhaus Museum of Passau holds a basset-horn inscribed with the following words ANT MITCH MAYRHOFER INVEN. & ELABOR. PASAVII, which was built by Mayrhofer in Passau, in 1760. 30 Mozart was especially attracted to the basset horn 31, which he used mostly in his Masonic works; in the pieces for three instruments he wrote the violin key for the first two (the sound effect being 5 ) and the bass key for the third (4 ). The Serenade in B flat 27 Wilhelm Demian, Teoria instrumentelor, Editura Didactic i Pedagogic, Bucure ti, 1968, p.111. 28 Valeriu B rbuceanu, op. cit., p.61. 29 The New Grove Dictionary of Music and Musicians, Macmillan Publishers Ltd., London, 1992, vol. 5. p. 906. 30 Idem, vol. 2, p. 867. 31 The 1 st movement of the Concerto for clarinet, K. 622 was originally written for basset clarinet (1787, G major - K 621b). 18
K.361/370a, the Requiem K.626 and the four nocturnes for soprano and baritone, accompanied by basset-horn, use the version tuned to F; the Nocturne K.437, otherwise incomplete, mentions a basset-horn in G and two clarinets in A. Samuel Adler, in his Study of Orchestration, presents the Basset horn as a tenor clarinet (written c-e 3, effect F-a 2 ), while the alto clarinet is considered to be the one in E flat (written e-e 3, effect G-g 2 ) 32. The term basset should be interpreted as the diminutive form of bass. Its distinct tone-quality has been described as "unctuous seriousness". This quality is reflected in the operas: Die Zauberflöte, (Act II, Sarastro - "O Isis und Osiris"), Requiem, Agnus Dei, "Dona eis requiem" (in bars 14-17). During the ensuing centuries, it was quite rarely used. We find it, for example, once in Beethoven, in Prometheus (1800-1801), in Mendelssohn-Bartholdy in two concertante pieces for clarinet, basset-horn and piano (1832-1833), in R. Strauss in the operas Der Rosenkavalier (1910, act I, Introduction), Daphne (1937, in the beginning) and in the wind sonatinas (AV139 and 143) and in Strawinski in Threni (1957-1958, for alto clarinet or basset-horn) 33. Although most of today's performances use clarinets tuned to B flat and A, there have been attempts to reconstruct Mozart's original scores in which the basset-horn or bassetclarinet was used. The latter is used or manufactured solely for the performance of the Concerto or aria "Non più di fiori in the opera La Clemenza di Tito. From the more than twenty stage works preserved, eight operas and a ballet include the clarinet in their orchestration, while three also include the basset horn. MOZART'S WORKS STAGE GENRE K.V. 1 st perf. YEAR /PLACE Apollo et Hyacinthus mythological 38 1767 - Salzburg 2Ob., 2Bsn., 2Hn., musical comedy Bastien und Bastienne singspiel 50 1768 - Vienna 2Fl., 2Ob., 2Hn., Timp,, (2Bsn. and Continuo - ad. lib.) La finta semplice opera buffa 51 1768 - Vienna 2Fl., 2Ob./2E. Hn., 2Bsn., 2Hn./2Cor.da caccia, Timp.,, Continuo Mitridate, Rè di Ponto opera seria 87 1770 - Milan 2Bsn., 2Ob., 2Hn., Timp., Continuo (2Bsn. - ad. lib.) Ascanio in Alba theatrical serenade 111 1771 - Milan 2Bsn., 2Ob./2Bsn, 2Serpenti/2 E. Hn, 2Hn., Timp.,, Continuo 32 Samuel Adler, The study of Orchestration, Third Edition, W. W. Norton & Company, Inc. New York London, p. 215. 33 Idem, p. 216. 19
MOZART'S WORKS STAGE GENRE K.V. 1 st perf. YEAR /PLACE Il sogno di Scipione theatrical serenade 126 1772 - Salzburg 2Fl., 2Ob., 2Bsn, Hn., Timp.,, Continuo Lucio Silla dramma per 135 1772 - Milan 2Fl., 2Ob., 2Bsn, 2Hn., musica Timp.,, Continuo La finta giardiniera opera buffa 196 1775 - Munich 2Fl., 2Ob., 2Bsn, 2Hn., Timp., Il Rè pastore pastoral serenade 208 1775 - Salzburg 2Fl., 2Ob./2 E. Hn., 2Bsn., 4Hn., Timp., Les petits riens ballet music 299b 1778 - Paris 2Fl., 2Ob., 2Clar., 2Bsn., 2Hn., 2Cl., Timp., Zaide singspiel 344 1779 - Salzburg 2Fl., 2Ob., 2Bsn, 2Hn., Timp., Thamos opera seria 342 1779 - Salzburg 2Fl., 2Ob., 2Bsn., 2Hn., 2Cl., 3Tbn., Timp., Idomeneo Rè di Creta opera seria 366 1781 - Munich 2Fl., 2Ob., 2Clar., 2Bsn., 4Hn., 2Cl., 3Tbn., Timp., Die Entführung aus dem Serail singspiel 384 1782 - Vienna Picc., 2Fl., 2Ob., 2Clar., 2Cor.di bassetto, 2Bsn., 2Hn., 2Cl., Timp., Deutsche.Tbn., Tri., Piatti, Tamb.Gr., L'oca del Cairo opera buffa 422 1783 - Salzburg 2Fl., 2Ob., 2Bsn, 4Hn., 2Cl., Lo sposo deluso, opera buffa 430 1783 - Salzburg 2Fl., 2Ob., 2Bsn., 4Hn., 2Cl., 3Tbn., Timp., Der Schauspieldirektor singspiel 486 1786 - Vienna 2Fl., 2Ob., 2Clar., 2Bsn., 2Hn., 2Cl., Timp., Le nozze di Figaro opera buffa 492 1786 - Vienna 2Fl., 2Ob., 2Clar., 2Bsn., 2Hn., 2Cl., Timp., Don Giovanni dramma giocoso 527 1787 - Prague 2Fl., 2Ob., 2Clar., 2Bsn., 2Hn., 2Cl., 3Tbn., Timp., Così fan tutte opera buffa 588 1790 - Vienna 2Fl., 2Ob., 2Clar., 2Bsn., 2Hn., 2Cl., Timp., Die Zauberflöte singspiel 620 1791 - Vienna 2Fl., 2Ob., 2Clar., 2Cor.di.bassetto, 2Bsn, 2Hn., 2Cl., 3Tbn., Timp., La Clemenza di Tito opera seria 621 1791 - Prague 2Fl., 2Ob., 2Clar., 2 Cor.di bassetto, 2Bsn., 2Hn., 2Cl., Timp., The first piece in which the clarinet was used was the music of the ballet Les petits riens, performed in Paris, in 1778. The chronologically successive operas Zaide and Thamos (1779) did not use the clarinet (which could lead to the conclusion that probably there were no clarinets in Salzburg), but the following operas, Idomeneo (Munich, 1781) Die Entführung aus dem Serail (Vienna, 1782), Der Schauspieldirektor and Le nozze di Figaro (Vienna, 1786), Don Giovanni (Prague, 1787), Cosi fan tutte (Vienna,1790), Die Zauberföte (Vienna), and La Clemenza di Tito (Prague, 1791) all did, while some of them (Die Entführung aus dem Serail, Die Zauberflöte, La Clemenza di Tito) also used a corno di bassetto. The operas L oca del Cairo and Lo sposo deluso, performed in Salzburg (1783) are an exception and, like the 20
previously mentioned Salzburg works, use no clarinet or bassethorn. The orchestral pattern also includes other innovations: corni inglesi in La finta semplice, 4 horns (instead of two) in Il Rè pastore, or 3 trombones in Thamos, the last one being an anticipation of the final masterpiece, The Magic Flute 34. As results from Mozart's opera scores, he experimented with the qualities of the new instrument both in the orchestral parts and in the vocal-instrumental ones, while the role it played was, successively, thematic, harmonic or imitative in the ensemble of the woodwind section, in combination with the brass instruments or with the string section, or even soloistic. In can have a lyrical quality in an ensemble, an enveloping timbre when accompanied by woodwinds and strings, or it can be dramatic and imposing (La Voce Idomeneo), gloomy and menacing (Commendattore Don Giovanni), or mystical (Sarastro The Magic Flute) in combination with the brass winds and low-pitched strings. His concern with verisimilitude is clearly reflected in his letter to his father, dated 18 January 1781: "Don't you think the speech of the subterranean voice is too long? Think it over, carefully. Imagine the scene on the stage: the voice must be terrifying it must be impressive, one must believe it real". If in the Abduction from the Seraglio the role of the basset horn was purely coloristic (Constanze's aria in G minor), in Titus it is treated as obbligato solo instrument (Vitellia's Rondo in Act II) with orchestral accompaniment. His friendship with Anton Paul Stadler (1753-1812), a virtuoso clarinetist and basset horn player, materialized into solo instrumental pieces and vocal-instrumental ones: the clarinet concerto and the solo parts in The Magic Flute and Requiem, composed during the last months of his life. Mozart wrote to his wife in Baden of Stadler's successful handling of the solo clarinet and basset horn passages, on September 30 35 at the performance of Titus 36 : "Cries of Bravo were shouted at Stodla from the parterre and even the orchestra (What a miracle for Bohemia!); but indeed I did my very best", he noted in his letter of 7-8 October 1791. In Idomeneo, he uses the clarinet in A, B flat and C mostly in the third act, where he proposes two versions for the subterranean Voice: the first with 2 horns in C and 3 trombones, and the second with 2 clarinets in B flat, 2 bassoons and 2 horns in C. 34 The Hymn to the Sun God reminds of the choral finale of The Magic Flute. 35 The premiere had taken place on the sixth day of the month. 36 simultaneously with the premiere of The Magic Flute. 21
ACT SCENE CHARACTER, ARIA, ENSEMBLE IDOMENEO RÈ DI CRETA opera seria KV 366 1781 - Munich 2Fl., 2Ob., 2Clar., 2Bsn., 4Hn., 2Cl., 3Tbn., Timp. I II III II 2 Ouverture Allegro (D) The Clarinet's role is thematic in the ensemble and harmonic, Clar. I- theme, II accomp.(in formation) Idamante: Non ho colpa (B flat) VIII 6 Idamante: Il padre adorato (C) I 10c Idamante: Rondo: Non temer, amato bene (B flat) 2Fl, 2Ob., 2Clar.in A, 2Bsn., 2Horns in D, 2Cl. in D, Timp.in D and A, 2Ob, 2Clar.in B flat, 2Bsn., 2Horns in Bflat alto,, continuo (cembalo, vcl) 2Fl., 2 Ob., 2Clar.in C, 2Bsn., 2Horns in C, Clarino in C, 2Clar. in B flat, 2Bsn., 2Horns in B flat basso, vl.solo XIV Marcia (C) 2Fl., 2 Ob., 2Clar.in C, 2Bsn., 2Horns in C, Clarino in C, XV Elettra 2Fl., 2 Ob., 2Clar.in A, 2Bsn., 2Horns in E flat, I 19 Ilia: Zefiretti lusinghieri (E) III 21 Ilia, Elettra, Idamante, Idomeneo: Andrò raminga e sola (E flat) IX 28a 28b La Voce: Idomeneo cessi esser re (c) Final 30 Idamante, Idomeneo Ilia, Arbace, Popolo Final scene, Recitativo: Popoli, a voi l ultima legge 2Fl., 2 Ob., 2Clar.in A, 2Bsn., 2Horns in E, 2Fl., 2 Ob., 2Clar.in B flat, 2Bsn., 2Horns in E flat, 2Horns in C, 3Tbn, or 2Clar.in B flat, 2Bsn., 2Horns in C 2Clar.in B flat, 2Bsn., 2Horns in E flat In The Abduction from the Seraglio, the clarinet plays a soloistic role already in the overture, but does not play at all in the finale. In the arias, only the main characters are accompanied by the clarinet: Belmonte in 3 arias, and Constanze in two duets (accompanied by clarinets). She has two arias with clarinet and one with basset horns. With the other characters, the clarinet plays alone in the Pedrillo-Osmin duet, and in Osmin's aria toward the end of the opera. 22
ACT SCENE CHARACTER, ARIA, ENSEMBLE DIE ENTFÜHRUNG AUS DEM SERAIL singspiel KV 384 1782 - Vienna Picc., 2Fl., 2Ob., 2Clar., 2Cor.di.b, 2Bsn., 2Hn., 2Cl., Timp., Deutsche.Trom., Triang., Piatti, Tamb.Gr., I II III Uvertura Presto (C). Andante (c) Presto (C) [Clar. solo role in Presto, bars 15-22] I 1 Belmonte: Hier soll ich dich denn schen, Konstanze (C) VI 5b Chor der Janitscharen: Singt dem grossen Bassa Lieder (C) VII 6 Constanze: Ach ich liebte, war so glücklich (B flat) In Allegro [Clar. solo role; I- theme., II - figuration] X 7 Belmonte, Pedrillo, Osmin Terzett: Marsch, marsch, marsch! trollt euch fort! (c) II 10 Constanze: AriaTraurigkeit ward mir zum Lose (g) [Corno di b.1 solo role] III 11 Constanze: Martern aller Arten (C) VIII 14 Pedrillo, Osmin: Vivat Bacchus! Bacchus lebe! (C) IX 15 Belmonte: Aria Wenn der Tränen Fliessen (B flat) III 17 Belmonte: Aria Ich bane ganz auf deine Stärke, vertrau, o Liebe! deiner Macht! (E flat) V 19 Osmin: Aria O, wie willich triumphieren (D) Picc., 2Fl., 2Ob., 2Clar.in C, 2Bsn, 2Hn.in C, 2Cl.in C, Timp.in C-G, Triang., Piatti, Tamburo Grande, 2Clar.in C, 2Bsn, 2Hn.in C, Picc.in G, 2Fl., 2Ob., 2Clar.in C, 2Bsn, 2Hn.in C, Timp.in C-G, Triang., Piatti, Tamburo Grande, 2 Ob., 2Clar.in B flat, 2Bsn., 2Horns in B flat alto, 2Ob., 2Clar.in C, 2Bsn, 2Hn.in C, 2Cl.in C, Timp.in C-G, Triang., Piatti, Tamburo Grande, 2Fl., 2Ob., 2Corni di bassetto in F, 2Bsn., 2Horns in B flat alto, 2Clar.in C, 2Bsn, 2Hn.in C, 2Cl.in C, Timp.in C-G, Picc.in G, 2Fl., 2Ob., 2Clar.in C, 2Bsn, 2Hn.in C, Timp.in C-G, Triang., Piatti, Tamburo Grande, 2 Ob., 2Clar.in B flat, 2Bsn., 2Horns in B flat alto, 2 Fl., 2Clar.in B flat, 2Bsn., 2Horns in E flat alto, Picc.in G, 2Fl., 2Ob., 2Clar.in A, 2Bsn, 2Hn.in D, Timp.in C-G, Triang., Piatti, Tamburo Grande, 23
ACT SCENE CHARACTER, ARIA, ENSEMBLE VII 20 Belmonte, Konstanze Duetto: Meinetwegen sollst du sterben! (B flat) IX 21 a,b Soloists, chorus: [The clarinet does not appear in the finale!] 2Clar.in B flat, 2Bsn., 2Horns in B flat alto, Picc., 2Fl., 2Ob., 2Clar.in C, 2Bsn, 2Hn.in C, 2Cl.in C, Timp.in C-G, Triang., Piatti, Tamburo Grande, The idea of a komische Oper, The Theatre Manager, came from Emperor Joseph the Second. Its libretto was written by young Stephanie, who had also written the text for The Abduction from the Seraglio. ACT SCENE CHARACTER, ARIA, ENSEMBLE DER SCHAUSPIEL- DIREKTOR singspiel KV486 1786 Vienna 2Fl., 2Ob., 2Clar., 2Bsn., 2Hn., 2Cl., Timp., I Ouverture: Presto (C) IX 3 Madame Herz, Mademoiselle Silberklang, Monsieur Vogelsang The role of the clarinet is thematic, harmonic, bass Alberti Schlussgesang: Allegro The clarinet has a thematic imitative role (bars 18-23) 2Fl., 2Ob., 2Clar.in C, 2Bsn., 2Horns in G, Cl.in C, Timp. in C-G, ObI., Ob.II, 2Clar. in B flat, 2Bsn., 2Horns in B flat, 2Ob., 2Clar.in C, 2Bsn., 2Horns in C, 2 Cl.in C, Timp.in C-G, Although it is a short opera, with only one act and four characters, the spontaneous humor pervading it demonstrates its author's excellent propensity for the buffo language. Composed after the six Haydn quartets, the contrapuntal writing of the voices is also used in the clarinet section (in the finale, bars 18-23). 24
The beginning and end of the score of The Marriage of Figaro includes clarinets. During the course of the opera, the clarinet appears in the second part of each act. Both of Cherubino's arias use the clarinet, which in the Countess' aria also plays a soloistic role. ACT SCENE CHARACTER, ARIA, ENSEMBLE LE NOZZE DI FIGARO opera buffa KV 492 1786 Vienna 2Fl., 2Ob., 2Clar., 2Bsn., 2Hn., 2Cl., Timp., I II III 37 IV Sinfonia Presto (D) V 6 Cherubino: Aria Non so più cosa son, cosa facio (E flat) VI-VII 7 Susanna, Basilio, Il Conte: Terzetto Cosa sento! tosto andate I 11 Contessa: Cavatina Porgi amor qualque ristoro (E flat) [Clar. harmonic, thematic and soloistic role] II 12 Cherubino: Arietta Voi che sapete che cosa è amor 1Fl., 1Ob., 1Clar.in B flat, 1Bsn., 2Horns in E flat, (reduced formationdolce) 2Clar.in B flat, 2Bsn., 2Horns in E flat, Timp. in E-b-B flat, VI- VIII X-XI XI- XIV 16 La Contessa, Il Conte: Finale Esci omai garzon malnato 23 Finale, Marcia Susanna, La Contessa, Il Conte, Figaro Ecco la marcia, andiamo VII 26 Basilio: Aria In quegl anni, in cui val poco VIII 27 Figaro Aprite un po quegl occhi (E flat) [Clar. dramatic role] XIII and XV 29 Susanna, La Contessa, Barbarina, Cherubino, Marcellina, Basilio, Il Conte, Antonio, Figaro: Pian pianin le andrò più presso 2Fl, 2Ob., 2Clar.in A, 2Bsn., 2Horns in D, 2Cl. in D, Timp.in D and A, 2Clar. in B flat, 2Bsn., 2Horns in E flat, 2Ob., 2Clar.in B flat, 2Bsn., 2Horns in B flat alto, 2Clar.in B flat, 2Bsn., 2Horns in E flat, 2Fl., 2Ob., 2Clar.in C, 2Bsn., 2Horns in C, 2 Cl.in C, Timp.in C-G, 2Ob., 2Cl.in B flat, 2Bsn., 2Horns in B flat alto, 2Clar.in B flat, 2Bsn., 2Horns in E flat, 2Cl. In E flat, 2Ob., 2Cl.in B flat, 2Bsn., 2Horns in B flat alto, The cantability of the clarinet, accompanied by the violins in pizzicato, gives the impression of a serenade and paves the way for Cherubino's love song. The lyrical moment soothes the ladies' nervousness (the Countess and Susanna) over Figaro's vindictive plans. 37 The clarinet appears only in the finale in act III. 25
Ex. 1: The Marriage of Figaro Cherubino: Voi che sapete (Act II, Scene II) 26
In Don Giovanni, the clarinet occurs in different types of arias: in Don Giovanni's exuberant aria Fin ch han dal vino (the only one) in act I, with a harmonic and thematic role, and in the dramatic arias of Donna Elvira (Mi tradi quell alma ingrata) and Donnei Anna (Non mi dir, bell idol mio) in Act II, playing a soloistic role. ACT SCENE CHARACTER, ARIA, ENSEMBLE DON GIOVANNI dramma giocoso KV 527 1787 - Prague 2Fl., 2Ob., 2Clar., 2Bsn., 2Hn., 2Cl., 3Tbn., Timp., Ouvertura: Andante. Allegro molto (d) I XV 11 Don Giovanni Fin ch han dal vino (B flat) II II 15 Donna Elvira, Leporello, Don Giovanni Terzetto: Ah taci, ingiusto core (A) VI 18 Zerlina: Vedrai, carino (C) X 19 Donna Anna, Donna Elvira,Zerlina, Don Ottavio Leporello, Masetto Sestetto: Sola in bujo loco (E flat) X 21 Don Ottavio Il mio tesoro intanto (B flat) Xd 21b Donna Elvira: Mi tradi quell alma ingrata (E flat) [Clar. dramatic soloistic role (doubled by Bsn.)] XI 22 Commendatore (Don Giovanni, Leporello) Adagio: Di ridar finirai pria dall aurora (a) XII 23 Donna Anna Non mi dir, bell idol mio (F) dolce [Clar. soloistic role] XIII 24 Finale Donna Anna, Zerlina, Don Giovanni, Il Commandatore, Leporello, Masetto, Coro 2Fl, 2Ob., 2Clar.in A, 2Bsn., 2Horns in A, 2Cl. in A, Timp.in D-A, 2Fl., 2 Ob., 2Clar.in B flat, 2Bsn., 2Horns in B flat, 2Fl., 2 Ob., 2Clar.in A, 2Bsn., 2Horns in A, 2 Fl., 2Clar.in C, 2Bsn., 2Horns in C, 2Fl., 2Ob., 2Clar.in B flat, 2Bsn., 2Horns in E flat, 2 Cl.in D, Timp.in D-A, 2Clar.in B flat, 2Bsn., 2Horns in B flat, 1Fl., 1Ob., 1Clar.in B flat, 1Bsn., 2Horns in E flat, (reduced ensemble, see The Marriage) 2Ob., 2Clar.in B flat, 2Bsn., 3Tbn., 1 Fl., 2Clar.in C, 2Bsn., 2Horns in F, 2Fl., 2Ob., 2Clar.in A (B flat), 2Bsn., 2Horns in D, 2 Cl.in D, 3 Tbn., Timp.in D-A, Don Ottavio's aria (Il mio tesoro intanto) from Act II starts with a lyrical passage played by the clarinet, leaving the soloistic role to the strings, when the hero's tone becomes passionate. Like in the preceding example from The Marriage of Figaro, the warm timbre of the clarinet, followed by compassionate words of Don Ottavio, the positive character, contrasts with the general indignation caused by Don Giovanni's latest nefarious deeds. Whatever their social status, the opera's characters form a coalition against Don Giovanni's 27
debauchery. The conciliatory tone of the clarinet becomes turns into mocking through the dotted rhythm of the counterpoint, when Don Ottavio gets too pathetic in his oath of revenge. Ex. 2: Don Giovanni Don Ottavio Aria Il mio tesoro intanto (Act II, Scene X) 28
The subject of the opera Cosi fan tutte is based on a real fact (or anecdote) offered by Joseph the Second, who also proposed the theme of The Theatre Manager. The opera received harsh criticism from Beethoven and Wagner over its immoral libretto, although the themes of infidelity, hoaxes and disguise were typical of the Commedia dell arte, from Machiavelli's Mandrake, to Shakespeare, Molière, Goldoni and Beaumarchais, the author of Figaro. According to Wagner, "Mozart's greatness is confirmed by his inability to compose music such as he did for Figaro for the dull and insignificant libretto of Cosi fan tutte... " 38 Ever since then, Mozart's music has become one of the public's favorites, through its wealth of spirit, masterly outlined characters and novelty of opera ensemble moments. The clarinet was gaining importance as accompanist, its role as solo instrument appearing only toward the end of Acts I and II. In the sextet Alla bella Despinetta (Act I), Mozart used the clarinet and the oboe alternatively 39, in an oboe-clarinet thematic dialogue. The flute accompanies the clarinet in the extreme moments of the acts (overture, finales of acts) and in the lyrical pages (the famous Terzettino Soave sia il vento from Act I and Fiordiligi's rondo Per pieta, ben mio, perdona, from Act II). 38 A. Schurig, W. A. Mozart, Leipzig, 1913, p. 214, quoted by János.LiE flatner, Mozart a szinpadon ("Mozart on the Stage"), Zenem kiadó Vállalat Budapest, 1961, p. 137. 39 It is a rare case when the oboe and the clarinet appear together. 29
ACT SCENE CHARACTER, ARIA, ENSEMBLE COSÌ FAN TUTTE opera buffa KV 588 1790 - Vienna 2Fl., 2Ob., 2Clar., 2Bsn., 2Hn., 2Cl., Timp., I II Ouvertura: Andante. Presto (C) 2Fl., 2Ob., 2Clar.in C, 2Bsn., 2Horns in G, Cl.in C, Timp. in C-G, II 4 Fiordiligi, Dorabella Duetto (A) 2Clar.in A, 2Bsn., 2 Horns in A, IV 6 Fiordiligi, Dorabella, Ferrando, Guglielmo Don Alfonso 2Clar.in B flat, 2Bsn., 2Horns in E flat, IV 7 Ferrando, Guglielmo Duettino: Al fato dan legge (B flat) 2Clar.in B flat, 2Bsn., 2Horns in B flat basso,, continuo V 8a Fiordiligi, Dorabella, Ferrando, Guglielmo Don Alfonso Di scrivermi ogni giorno (F) 2Clar.in C, 2Bsn.,, continuo VI 10 Fiordiligi, Dorabella Don 2Fl., 2Clar.in A, 2Bsn., 2 Horns Alfonso :Terzettino Soave sia il in E,, continuo vento [Clar. distinct melodic line] VIII- 11 Dorabella: Aria Smanie 2Fl., 2Clar.in B flat, 2Bsn., 2 IX implacabili Horns in E flat, XI 13 Sestetto Alla bella Despinetta [Thematic dialogue Ob-Cl.] 2Ob., 2Clar.in C, 2Bsn, 2Cl.in C, Timp.in C-G, XI 14 Fiordiligi:Aria Come scoglio immoto resta 2Clar.in B flat, 2Bsn., 2Cl.in B flat, XII 17 Ferrando:Un aura amorosa 2Clar.in A, 2Bsn., 2 Horns in A,, continuo XIV- Finale Ah che tutte in un 2Fl., 2Ob., 2Clar.in A, 2Bsn., XVI momento 2Horns in D, Cl.in D, Timp. in [Cl.I solo - bars 546-558] D-A, IV 21 Ferrando, Guglielmo, Cor Duette con coro Secondate, aurette amiche (E flat) [Clar. thematic role, becomes a character] V 23 Despina, Ferrando, Guglielmo, Don Alfonso: La mano a me date (C) VII 24 Ferrando:Ah lo veggio, quell anima bella (B flat) 2Fl., 2Clar.in B flat, 2Bsn., 2 Horns in E flat, 2Clar.in C, 2Bsn., 2 Horns in F, 2Clar.in B flat, 2Bsn., 2Cl.in B flat 40, IX 25 Fiordiligi Rondo: Per pieta, ben mio, perdona IX 27 Ferrando: Cavatina Tradito, chernito (c) IX 28 Dorabella: E amore un ladroncello XV 31 Finale Fate presto, o cari amici (C) 2Fl., 2Clar.in B, 2Bsn., 2 Horns in E, 2Ob., 2Clar.in B flat, 2Bsn., 2 Horns in C, 1solo Fl., 2Ob., 2Clar.in B flat, 2Bsn., 2 Horns in C, 2Fl., 2Ob., 2Clar.in C, 2Bsn., 2Horns in C, Cl.in C, Timp. in C-G, The duet with chorus Secondate, aurette amiche from Act II brings back the pastoral timbre of the clarinet, while the idyllic setting of the scene is amplified by the novelty of the serenade for wind sextet (two clarinets, two bassoons and two horns), with the clarinets 40 In this opera, Mozart prefers the clarino to the horn. 30
playing the thematic role. The ample instrumental introduction (37 bars) in mellow style paves the way for young Ferrando's and Guglielmo's charming duet. The clarinets' section no longer has the soothing character of the previous examples; the highly individualized writing acquires new registers, while the rhythmic diminution gives it a character of virtuosity which contrasts with the heroes' timidity. The choral ritornello is accompanied by the presence of the flutes along with that of the previous sextet (clarinets, bassoons and horns), a moment accomplished with a minimum of means and with a maximum of effect. Ex. 3: Cosi fan tutte Duetto con coro Secondate, aurette amiche (Act II, Scene IV, No. 21) 31
Sarastro, in The Magic Flute aria with chorus O Isis und Osiris (Act II) informs the priests from his temple that Tamino appeared before Isis and Osiris in order to subject himself to the ordeals. These ordeals will make him worthy of Pamina, and of admission to the temple. The Gods have promised her to Tamino and Sarastro kidnapped her from the kingdom of the Queen of the Night (Pamina's mother), to save her pure soul and to prepare her for her marriage to the young prince. ACT SCENE CHARACTER, ARIA, ENSEMBLE DIE ZAUBERFLÖTE singspiel KV 620 1791 - Vienna 2Fl., 2Ob., 2Clar., 2Cor.di.b, 2Bsn., 2Hn., 2Cl., 3Tbn., Timp., I Ouverture Allegro (E flat) Adagio. I 1 Drei Damen, Tamino Introduction Zu Hilfe! zu Hilfe! sonst bin ich verloen (c) IV 3 Tamino: Dies Bildnis ist bezaubernd schön (E flat) 2Fl., 2 Ob., 2Clar.in B flat, 2Bsn., 2Horns in E flat, Cl.in E flat, 3Tbn. 41,Timp. in E flat-b flat, 2Fl, 2Ob., 2Clar.in B flat, 2Bsn., 2Horns in E flat, 2Clarino in E flat, Timp.in E flat-b flat, 2Clar.in B flat, 2Bsn., 2Horns in E flat, 41 Requiem orchestration: Corno di Bassetto I.II in F, bassoon I,II, clarino I,II in D, timpani in D-A, trombone alto, tenore and basso, strings, mixed choir of four voices (soprano, alto, tenor and bass), organ. 32
ACT SCENE CHARACTER, ARIA, ENSEMBLE II VIII 5 Drei Damen, Tamino, Papageno:Quintetto: Hm! hm! hm! (B flat) XIV 7 Pamina, Papageno:Duetto: Bei Männern, welche LiE flate fühlen (E flat) XV-XIX 8 Finale: Zum Ziele führt dich diese Bahn Larghetto: Herr, ich bin zwar Verbrecherin! Pamina Drei Knaben, Tamino, Monostatos, Sarastro [Erster] Priester, 42 2Clar.in B flat, 2Bsn., Violin I,II 2Clar.in B flat, 2Bsn., 2Horns in E flat, 2Fl., 2Ob., 2Clar.in C, 2Corno di Bassetto in F 43, 2Bsn., 2Horns in G, 2Clarinos in C, 3Tbn, Timpani in E flat-b flat Papageno, Chor (C, F) I 9 Marcia Flauto, 2Corno di Bassetto in F, 2Bsn., 2Horns in F, 2Clarinos in C, 3Tbn., Timpani in E flat-b flat, I 10 Sarastro, Chor: Tenore I,II Basso I,II Aria con coro: O Isis und Osiris (F) 2Corno di Bassetto in F, 2Bsn., Trombone alto, tenore and basso, 2Viola, Violoncello 44 III 11 Zweiter Priester, Sprecher Duetto: Bewahret euch vor Weibertücken (C) VII 13 Monostatos Aria:Alles Fühlt der LiE flate Freuden (C) XXVI- XXX 21 Königin der Nacht, Pamina, Papagena, Drei Knaben, Drei Damen, Tamino, Monostatos, Erster und zweiter geharnischter Mann, Sarastro, Papageno, Chor Finale: Bald prangt, den Morgen zu verkünden (c) 2Fl., 2Ob., 2Clar.in C, 2Bsn., 2Horns in C, Cl.in C,3 Tbn., Timpani in C-G, Flauto piccolo, Flauto, 2Clar.in C, 2Bsn., 2Fl., 2Ob., 2Clar.in B flat 45, 2Bsn., 2Horns in E flat, Clarino I,II in C, 3Tbn., Timpani in C and G, Stromento d acciaio (Glockenspiel), 42 The quintet begins with Oboe I,II, Bsn.I,II, Violin I,II in accompaniment, but in Andante, bar 214, Clar.I,II in B flat will replace Ob. I,II. 43 Corno di Bassetto I.II in F is not played together with the clarinet, but replaces it in Larghetto, beginning with bar 395, up to the end (bar 586). Moreover, Act II maintains two more Corno di Bassetto numbers, 9 and 10, the return to the clarinet part being made only in number 11. 44 The middle and low register a reference to Masons? 45 The clarinet plays a soloistic role, together with the bassoon and the horns. 33
In the invocation of gods referred to in this aria, the solemnity of the moment is suggested by a low-register orchestration, typical of the great masses: two corni di bassetto, bassoons, three trombones (alto, tenor and bass) viola divisi, cellos and a male choir (tenor and basses), a true sacerdotal ceremonial. By contrast, the clarinet was continued to be used in lyrical arias (Tamino), in arias full of spirit (Monostatos) and in ensembles. Ex. 4: The Magic Flute Arie mit Chor O Isis und Osiris (Act II, Scene I, No.10) 34
La Clemenza di Tito was often subjected to criticism, being considered a work that Mozart composed in haste, under pressure, in suffering and tormented by his illness. Metastasio's libretto was modified, according to the composer's wishes, in favor of the ensembles, while the number of arias was significantly reduced. The opera was however still criticized for its obsolete form and lack of dramatic impulse. The plot had never been the forte of the operei seria. Instead, it ideally accommodated an action that would fit the noble music and serve the vocal virtuosity that were so much appreciated and expected by the aristocratic spectator. 35
ACT SCENE CHARACTER, ARIA, ENSEMBLE LA CLEMENZA DI TITO opera seria KV 620 1791 - Prague 2Fl., 2Ob., 2Clar., 2Corni bassetto 2Bsn., 2Hn., 2Cl., Timp., di I Ouverture Allegro (C) 2Fl., 2Ob., 2Clar.in B flat, 2Bsn., 2Horns in C, 2Cl.in C, Timp. in C-G, IV 4 Marcia (E flat) 2Fl., 2Ob., 2Clar.in B flat, 2Bsn., 2Horns in E flat, 2Cl.in E flat, Timp. in E flat- B flat, IV 5 Coro (E flat) 2 Fl., 2Clar.in B flat, 2Bsn., 2Horns in E flat, 2Cl. in E flat, IX 9 Sesto: Aria Parto, ma tu ben mio (B flat) [Clar.-thematic, soloistic role, wide range, independent and virtuosic melodic line] 46 2Fl., 2Ob., Clar.solo in B flat, 2Bsn., 2Horns in B flat alto, II XI 12 Vitellia, Servilia, Sesto, Annio Publio: Quintetto con coro Deh conservate, oh Dei (E flat) V 15 Tito,Publio, patrizi,pretoriani e popolo: Coro Ah grazie si rendano (F) X 18 Tito,Publio, Sesto: Terzetto Quello di Tito è il volto (E flat) XV 23 Vitellia: Rondo Non più di fiori vaghe catene (F) [Corno di bassettothematic, soloistic role, wide range, independent and virtuosic melodic line] XVII 26 Vitellia, Servilia, Annio Sesto, Tito, Publio Sestetto con coro Tu, è ver, m assolvi Augusto (C) 2Fl., 2Ob., 2Clar.in B flat, 2Bsn., 2Horns in E flat, 2Cl.in E flat, Timp. in E flat- B flat, 2Fl., 2 Ob., 2Clar.in C, 2Bsn., 2Horns in F, 2 Fl., 2Clar.in B flat, 2Bsn., 2Horns in E flat, Fl., 2 Ob., 2 Corni di bassetto in F, 2Bsn., 2Horns in F, 2Fl., 2Ob., 2Clar.in C, 2Bsn., 2Horns in C, 2Cl.in C, Timp. in C-G, 46 The clarinet reflects the character's thoughts and feelings of grief after his break up with his lover. The hero's sadness is amplified by his inner struggle between his loyalty to Titus and his love for Vitellia, who orders him to kill his emperor and set the palace on fire, as a token of his love for her. 36
Ex. 5: La Clemenza di Tito Rondo Vitellia Non piu di fiori (Act II) 37
In addition to the ariette, the opera also contains the arias di bravura performed by Sextus (Parto, ma tu ben mio, Act I, Scene IX, No. 9) and Vitellia (Non più di fiori vaghe catene, Act II), with masterly accompaniments that Mozart composed especially for Anton Stadler. In these scores, the clarinet and the corno di bassetto have a highly expressive, metallic sound resembling that of a Roman lituus, their challenging technical passages requiring the presence of the famous clarinetist at the Prague premiere. In these two arias, the clarinet and the vocal soloist are treated as equal dialogue partners; in Act I, the clarinet accompanies the dramatic aria of Sesto, the desperate hero who out of love for Vitellia is ready to commit murder by killing his emperor, and to set Rome on fire. All he asks from his haughty beloved in exchange is that she look favorably on him one last time. The reply comes in Act II with Vitellia's aria who, filled with remorse and impressed with Sesto's spirit of sacrifice, wants to save him, by revealing the truth about the conspiracy. Although she knows she will be thrown to the wild beasts, her decision is final; the regret of giving up a happy marriage with Titus comes up again and again in the form of a rondo, but Sesto's innocent death would have darkened the rest of her life. During the entire aria, Vitellia is accompanied by the basset horn, which suggests the heroine's torment through register changes, chromatic scale passages and rhythmically diminished arpeggios. 38
Thus, the evolution of the clarinet and basset-horn parts in the opera Clemenza di Tito marked, in terms of virtuosity and expression, their transformation from accompanying or ensemble instruments in soloistic instruments, equal partners of the human voice. Conclusions regarding the role of the clarinet in Mozart's lyrical genre: 1. successive role in an ensemble, thematic, harmonic or imitative and soloistic: - in overtures (all) - in arias: Countess: Cavatina Porgi amor qualque ristoro (E flat) The clarinet has a harmonic, thematic and soloistic role (2Clar.in B flat, 2Bsn., 2Horns in E flat, ). - in ensembles: in the Madame Herz, Mademoiselle Silberklang, Monsieur Vogelsang trio, the clarinet has a thematic, harmonic or Alberti bass role, successively (Ob. I., Ob. II, 2 Clar. in B flat, 2 Bsn., 2 Horns in B flat, ). 2. polyphonic role, in dialogue with the oboe, bassoon or flute: The sextet Alla bella Despinetta 2 Ob., 2 Clar. in C, 2 Bsn., 2 Cl. in C, Timp. in C-G, Ob. Cl. thematic dialogue 3. accompaniment 4. soloistic: - in overtures: The Abduction from the seraglio, the clarinet plays a soloistic role in Presto (bars 15-22) (Picc., 2 Fl., 2 Ob., 2 Clar.in C, 2 Bsn, 2 Hn. in C, 2 Cl. in C, Timp. in C-G, Triang., Piatti, Tamburo Grande, ). - in arias: Constanze's aria Ach ich liebte, war so glücklich (B flat), in Allegro the clarinet plays a soloistic role (Clar. I theme., II figuration 2 Ob., 2 Clar. in B flat, 2 Bsn., 2 Hn in B flat alto, ) or Cherubino's aria: Arietta Voi che sapete che cosa è amor (1 Fl., 1 Ob., 1 Clar.in B flat, 1 Bsn., 2 Horns in E flat, reduced ensemble dolce marking). 5. discrete character when accompanying voice: 39
Cherubino: Arietta Voi che sapete che cosa è amor (1 Fl., 1 Ob., 1 Clar.in B flat, 1 Bsn., 2 Horns in E flat, (reduced ensemble dolce). 6. dramatic character, with a distinct line: Sesto Aria Parto, ma tu ben mio (B flat) Clar. thematic, soloistic role, wide range, independent and virtuosic melodic line (2 Fl., 2 Ob., Clar.solo in B flat, 2 Bsn., 2 Horns in B flat alto, ) or Vitellia: Rondo Non più di fiori vaghe catene (F) Corno di bassettothematic, soloistic role, wide range, independent and virtuosic melodic line (Fl., 2 Ob., 2 Corni di bassetto in F, 2 Bsn., 2 Horns in F, ). - overtures and finales - in arias 7. New combinations in the low or high (super-high) register: the quintet in Act I Drei Damen, Tamino, Papageno: Hm! hm! hm! (B flat) Instrumentation: 2 Clar.in B flat, 2 Bsn., Violin I,II. the finale of the opera Act II, Scene 29, No.21 Königin der Nacht, Pamina, Papagena, Drei Knaben, Drei Damen, Tamino, Monostatos, Erster und zweiter geharnischter Mann, Sarastro, Papageno Chor Finale: Bald prangt, den Morgen zu verkünden (c). Instrumentation: 2 Fl., 2 Ob., 2 Clar. in B flat, 2 Bsn., 2 Horns in E flat, Clarino I,II in C, 3 Tbn., Timpani in C and G, Glockenspiel (Stromento d acciaio) and strings. - in the low register: La Voce: Idomeneo cessi esser re (c) ( 2 Horns in C, 3 Tbn, or 2 Clar.in B flat, 2 Bsn., 2 Horns in C). Sarastro, Chor: Tenore I, II Basso I, II Aria con coro: O Isis und Osiris (F) 2 Corno di Bassetto in F, 2 Bsn., Trombone alto, tenore and basso, 2 Viola, Violoncello. - in the high (super-high) register: Monostatos's aria, Alles Fühlt der Liebe Freuden (C) (Flauto piccolo, Flauto, 2 Clar.in C, 2 Bsn. and. 8. Cosi fan tutte except for the overture and finales of the two acts, it is only in two cases that the oboe and the clarinet play together: 40
the sextet Alla bella Despinetta from Act I, and Ferrando's cavatina - Tradito, chernito and Dorabellei's aria E amore un landrocello, from Act II, which Mozart used alternatively. - in this opera, Mozart prefers the clarino to the horn: Fiordiligi's aria Come scoglio immoto resta (2 Clar.in B flat, 2 Bsn., 2 Cl.in B flat, ) or Ferrando: Ah lo veggio, quell anima bella (B flat) 2 Clar.in B flat, 2 Bsn., 2 Cl.in B flat,. One can notice the similarity between the orchestra of the Requiem (Corno di Bassetto I, II in F, bassoon I, II, clarino I, II in D, timpani in D-A, trombone alto, tenore and basso, strings, four-voice mixed choir and organ) and that of the last two operas, La Clemenza di Tito and The Magic Flute. In The Magic Flute, at the end of Act I (Scenes XV-XIX), the Corno di Bassetto is not used together with the clarinet, but replaces it instead in the Larghetto (beginning with bar 395) up to the end (bar 586). Moreover, Act II maintains two more Corno di Bassetto numbers (9 and 10), the return to the clarinet part being made only in number 11. Is the importance assigned in these three pieces to the middle and low register a reference to the Masonic ceremonial, or a presentiment of death? Except for Mozart's compositions, the extant clarinet repertoire until 1790 was limited to the winds ensemble, present in all the European institutions. Most instrumental groups lay at the basis of the development of military music, and after 1750 orchestra clarinetists came from such groups. The Prussian orchestra, established by Frederick the Great in 1763, was composed of an octet made up of two clarinets, two oboes, two horns and two bassoons. In France, the orchestra had the same composition as in Prussia, whereas in England, in 1762, of the eight instruments playing within the framework of the Royal Regiment of Artillery, four had to be oboes or clarinets. Regarding the evolution of orchestral writing for operas in Mozart's brilliant predecessors, one can notice a great variety of instruments in Claudio Monteverdi's masterpiece (1567-1643) La Favola d Orfeo 47 (1607): Duoi Gravicembani, Duoi contrabassi de Viola, Dieci Viole da brazzo, Un Arpa doppia, Duoi Violini alla Franceze, Duoi Chitaroni, 47 The premiere of the opera February 1607, at the Accademia degl Invaghiti of Mantua. 41
Duoi Organi di legno, Tre bassi da gamba, Quattro Tromboni, Un Regale, Duoi Cornetti, Un Flautino alla Vigesima seconda, Un Clarino con tre trombe sordine, but no clarinets. Bach's youngest sons, Johann Christian (1735-1782), despite the age difference of almost three decades, developed a close friendship with the 8-year old musical genius who was in London at the time, and had a major influence on Mozart's opera and orchestration. In Bach's first opera, Orione (1762), composed in London, the orchestra has an amplified role and wide figurations, with the wind instruments playing an important and novel part through the use of the English horn and the clarinet. In the same year (1762), Christoph Willibald Gluck (1714-1787), the reformer of the opera, was composing his masterpiece Orfeo ed Euridice 48 with the following orchestral accompaniment: 2 Flöten, 2 Oboen, 2 English Hörner (oder Klarinetten), 2 Klarinetten, 2 Fagotte, 2 Hörner, 2 Trompeten, Kornett (Sopranposaune oder Cornet à pistons), 3 Posaunen, 1 Paar Pauken, Violine I, II, Viola, Violoncello, Kontrabass. Hinter der Bühne 1 Chalameau (Oboe), 1 Harfe, Streichorchester. There are few references in the literature to the instrumentation of the opera orchestra, which might lead to the wrong impression that the pattern was fixed and that the changes occurred only with the transition to a new epoch or style, depending on the opera genre adopted. The study of the scores of Mozart's operas, however, demonstrates the composer's constant interest in the search for new timbres. To Mozart, a passionate composer of the dramatic genre, each opera subject was a new challenge. Tens of volumes and thousands of pages have been written about Mozart's characters; completing these pages with a presentation of his orchestral mechanism employed in overtures and interludes, as accompanist in arias, choruses and recitatives, or as partner in the dramatic edifice was a captivating and imperative theme of investigation. 48 The premiere of the opera - 5 October 1762, in Hofburgtheater zu Wien. 42