THE CLARINET IN MOZART'S OPERAS
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: Lucrări de Muzicologie (Musicology Works), the journals:
Muzica, Intermezzo and Studia Musica. Books published: Arhetipuri
estetice ale relaĠiei ethos-affectus în istoria muzicii (Aesthetic Archetypes
of the Relationship between Ethos and Affectus in Music History) (2006)
and Itinerarii muzicologie: Mozart, Puccini, ToduĠă, Terényi
(Musicological Itineraries: Mozart, Puccini, ToduĠă, 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 clarinet26. 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 Bărbuceanu, DicĠionar de instrumente muzicale, Editura Teora, Bucureúti 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 dynamics27.
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 Mannheim29.
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 horn31, 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 5È) and the bass key for the third (4Ç). The Serenade in B flat
27
Wilhelm Demian, Teoria instrumentelor, Editura Didactică úi Pedagogică, Bucureúti, 1968, p.111.
Valeriu Bărbuceanu, 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 1st movement of the Concerto for clarinet, K. 622 was originally written for basset clarinet (1787, G
major - K 621b).
28
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-e3, effect F-a2), while the alto clarinet is considered to be the one in E flat
(written e-e3, effect G-g2)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 (18321833), 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.
GENRE
K.V.
1st perf. YEAR
/PLACE
INSTRUMENTATION
Apollo et Hyacinthus
mythological
musical comedy
38
1767 - Salzburg
2Ob., 2Bsn., 2Hn., Strings
Bastien und Bastienne
singspiel
50
1768 - Vienna
2Fl., 2Ob., 2Hn., Timp, Strings,
(2Bsn. and Continuo - ad. lib.)
La finta semplice
opera buffa
51
1768 - Vienna
Mitridate, Rè di Ponto
opera seria
87
1770 - Milan
Ascanio in Alba
theatrical serenade
111
1771 - Milan
2Fl., 2Ob./2E. Hn., 2Bsn.,
2Hn./2Cor.da caccia, Timp.,
Strings, Continuo
2Bsn., 2Ob., 2Hn., Timp.
Strings, Continuo (2Bsn. - ad.
lib.)
2Bsn.,
2Ob./2Bsn,
2Serpenti/2 E. Hn, 2Hn., Timp.,
Strings, Continuo
MOZART'S
WORKS
STAGE
32
Samuel Adler, The study of Orchestration, Third Edition, W. W. Norton & Company, Inc. New York London,
p. 215.
33
Idem, p. 216.
19
GENRE
K.V.
1st perf. YEAR
/PLACE
INSTRUMENTATION
Il sogno di Scipione
theatrical serenade
126
1772 - Salzburg
Lucio Silla
135
1772 - Milan
La finta giardiniera
dramma
musica
opera buffa
196
1775 - Munich
Il Rè pastore
pastoral serenade
208
1775 - Salzburg
Les petits riens
ballet music
299b
1778 - Paris
Zaide
singspiel
344
1779 - Salzburg
Thamos
opera seria
342
1779 - Salzburg
Idomeneo Rè di Creta
opera seria
366
1781 - Munich
2Fl.,
2Ob.,
2Bsn,
Hn.,
Timp., Strings, Continuo
2Fl., 2Ob., 2Bsn, 2Hn.,
Timp., Strings, Continuo
2Fl., 2Ob., 2Bsn, 2Hn.,
Timp., Strings
2Fl., 2Ob./2 E. Hn., 2Bsn.,
4Hn., Timp., Strings
2Fl., 2Ob., 2Clar., 2Bsn., 2Hn.,
2Cl., Timp., Strings
2Fl., 2Ob., 2Bsn, 2Hn.,
Timp., Strings
2Fl., 2Ob., 2Bsn., 2Hn., 2Cl.,
3Tbn., Timp., Strings
2Fl., 2Ob., 2Clar., 2Bsn., 4Hn.,
2Cl., 3Tbn., Timp., Strings
Die Entführung aus dem Serail
singspiel
384
1782 - Vienna
L'oca del Cairo
opera buffa
422
1783 - Salzburg
Lo sposo deluso,
opera buffa
430
1783 - Salzburg
Der Schauspieldirektor
singspiel
486
1786 - Vienna
Le nozze di Figaro
opera buffa
492
1786 - Vienna
Don Giovanni
dramma giocoso
527
1787 - Prague
Così fan tutte
opera buffa
588
1790 - Vienna
Die Zauberflöte
singspiel
620
1791 - Vienna
La Clemenza di Tito
opera seria
621
1791 - Prague
MOZART'S
WORKS
STAGE
per
Picc., 2Fl., 2Ob., 2Clar.,
2Cor.di bassetto, 2Bsn., 2Hn.,
2Cl., Timp., Deutsche.Tbn.,
Tri., Piatti, Tamb.Gr., Strings
2Fl., 2Ob., 2Bsn, 4Hn., 2Cl.,
Strings
2Fl., 2Ob., 2Bsn., 4Hn., 2Cl.,
3Tbn., Timp., Strings
2Fl., 2Ob., 2Clar., 2Bsn., 2Hn.,
2Cl., Timp., Strings
2Fl., 2Ob., 2Clar., 2Bsn., 2Hn.,
2Cl., Timp., Strings
2Fl., 2Ob., 2Clar., 2Bsn., 2Hn.,
2Cl., 3Tbn., Timp., Strings
2Fl., 2Ob., 2Clar., 2Bsn., 2Hn.,
2Cl., Timp., Strings
2Fl.,
2Ob.,
2Clar.,
2Cor.di.bassetto, 2Bsn, 2Hn.,
2Cl., 3Tbn., Timp., Strings
2Fl., 2Ob., 2Clar., 2 Cor.di
bassetto, 2Bsn., 2Hn., 2Cl.,
Timp., Strings
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 Flute34.
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 3035 at the performance of Titus36: "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.
The premiere had taken place on the sixth day of the month.
36
simultaneously with the premiere of The Magic Flute.
35
21
SCENE
NUMBER
2Fl.,
2Ob.,
2Clar.,
2Bsn.,
4Hn.,
2Cl.,
3Tbn.,
Timp.
ACT
IDOMENEO
RÈ DI CRETA
opera
seria
KV
366
1781 - Munich
INSTRUMENTATION
OPERA
OPERA
I
II
2
II
III
CHARACTER,
ARIA,
ENSEMBLE
NUMBER
INSTRUMENTATION
Ouverture Allegro (D)
The Clarinet's role is
thematic in the ensemble
and harmonic, Clar. Itheme, II accomp.(in
formation)
Idamante:
Non ho colpa (B flat)
2Fl, 2Ob., 2Clar.in A, 2Bsn.,
2Horns in D, 2Cl. in D,
Timp.in D and A, Strings
VIII
6
Idamante:
Il padre adorato (C)
I
10c
XIV
Idamante:
Rondo: Non temer, amato
bene (B flat)
Marcia (C)
XV
Elettra
I
19
III
21
IX
28a
28b
Final
30
Ilia: Zefiretti lusinghieri
(E)
Ilia, Elettra, Idamante,
Idomeneo:
Andrò raminga e sola (E
flat)
La Voce: Idomeneo cessi
esser re (c)
Idamante, Idomeneo Ilia,
Arbace, Popolo Final
scene, Recitativo: Popoli,
a voi l’ultima legge
2Ob, 2Clar.in B flat, 2Bsn.,
2Horns in Bflat alto, Strings,
continuo (cembalo, vcl)
2Fl., 2 Ob., 2Clar.in C,
2Bsn., 2Horns in C, Clarino in
C, Strings
2Clar. in B flat, 2Bsn.,
2Horns in B flat basso, vl.solo
Strings
2Fl., 2 Ob., 2Clar.in C,
2Bsn., 2Horns in C, Clarino in
C, Strings
2Fl., 2 Ob., 2Clar.in A,
2Bsn., 2Horns in E flat,
Strings
2Fl., 2 Ob., 2Clar.in A,
2Bsn., 2Horns in E, Strings
2Fl., 2 Ob., 2Clar.in B flat,
2Bsn., 2Horns in E flat,
Strings
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
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.,
Strings
I
II
III
CHARACTER,
ARIA,
ENSEMBLE
NUMBER
Uvertura
Presto
(C). Andante (c)
Presto (C)
[Clar. – solo role
in Presto, bars 1522]
Belmonte:
Hier
soll ich dich denn
schen, Konstanze
(C)
Chor
der
Janitscharen: Singt
dem
grossen
Bassa Lieder (C)
Picc., 2Fl., 2Ob., 2Clar.in
C, 2Bsn, 2Hn.in C, 2Cl.in
C, Timp.in C-G, Triang.,
Piatti, Tamburo Grande,
Strings
INSTRUMENTATION
NUMBER
SCENE
ACT
INSTRUMENTATION
OPERA
OPERA
I
1
VI
5b
VII
6
X
7
II
10
III
11
VIII
14
IX
15
III
17
V
19
Constanze:
Ach
ich liebte, war so
glücklich (B flat)
In Allegro [Clar.
solo
role;
Itheme.,
II
figuration]
Belmonte,
Pedrillo, Osmin
Terzett: Marsch,
marsch, marsch!
trollt euch fort! (c)
Constanze:
AriaTraurigkeit
ward mir zum
Lose (g) [Corno
di b.1 – solo role]
Constanze:
Martern
aller
Arten (C)
Pedrillo, Osmin:
Vivat
Bacchus!
Bacchus lebe! (C)
Belmonte:
Aria
Wenn der Tränen
Fliessen (B flat)
Belmonte:
Aria
Ich bane ganz auf
deine
Stärke,
vertrau, o Liebe!
deiner Macht! (E
flat)
Osmin: Aria O,
wie
willich
triumphieren (D)
2Clar.in C, 2Bsn, 2Hn.in
C, Strings
Picc.in G, 2Fl., 2Ob.,
2Clar.in C, 2Bsn, 2Hn.in
C, Timp.in C-G, Triang.,
Piatti, Tamburo Grande,
Strings
2 Ob., 2Clar.in B flat,
2Bsn., 2Horns in B flat
alto, Strings
2Ob., 2Clar.in C, 2Bsn,
2Hn.in C, 2Cl.in C,
Timp.in C-G, Triang.,
Piatti, Tamburo Grande,
Strings
2Fl., 2Ob., 2Corni di
bassetto in F, 2Bsn.,
2Horns in B flat alto,
Strings
2Clar.in C, 2Bsn, 2Hn.in
C, 2Cl.in C, Timp.in C-G,
Strings
Picc.in G, 2Fl., 2Ob.,
2Clar.in C, 2Bsn, 2Hn.in
C, Timp.in C-G, Triang.,
Piatti, Tamburo Grande,
Strings
2 Ob., 2Clar.in B flat,
2Bsn., 2Horns in B flat
alto, Strings
2 Fl., 2Clar.in B flat,
2Bsn., 2Horns in E flat
alto, Strings
Picc.in G, 2Fl., 2Ob.,
2Clar.in A, 2Bsn, 2Hn.in
D, Timp.in C-G, Triang.,
Piatti, Tamburo Grande,
Strings
23
SCENE
NUMBER
ACT
INSTRUMENTATION
OPERA
OPERA
VII
20
IX
21
a,b
CHARACTER,
ARIA,
ENSEMBLE
NUMBER
Belmonte,
Konstanze
Duetto:
Meinetwegen
sollst du sterben!
(B flat)
Soloists, chorus:
[The
clarinet
does not appear
in the finale!]
2Clar.in B flat, 2Bsn.,
2Horns in B flat alto,
Strings
INSTRUMENTATION
Picc., 2Fl., 2Ob., 2Clar.in
C, 2Bsn, 2Hn.in C, 2Cl.in
C, Timp.in C-G, Triang.,
Piatti, Tamburo Grande,
Strings
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.
DER
SCHAUSPIELDIREKTOR
singspiel
KV486
1786 – Vienna
2Fl.,
2Ob.,
2Clar.,
2Bsn.,
2Hn.,
2Cl.,
Timp.,
Strings
I
IX
CHARACTER,
ARIA,
ENSEMBLE
NUMBER
INSTRUMENTATION
Ouverture: Presto (C)
2Fl., 2Ob., 2Clar.in C, 2Bsn.,
2Horns in G, Cl.in C, Timp. in
C-G, Strings
ObI., Ob.II, 2Clar. in B flat,
2Bsn., 2Horns in B flat, Strings
NUMBER
SCENE
ACT
INSTRUMENTATION
OPERA
OPERA
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)
2Ob., 2Clar.in C, 2Bsn., 2Horns
in C, 2 Cl.in C, Timp.in C-G,
Strings
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.
LE NOZZE
DI FIGARO
opera buffa
KV
492
1786
–
Vienna
2Fl.,
2Ob.,
2Clar.,
2Bsn.,
2Hn.,
2Cl.,
Timp.,
Strings
I
II
III
37
IV
CHARACTER,
ARIA,
ENSEMBLE
NUMBER
INSTRUMENTATION
Sinfonia Presto (D)
2Fl, 2Ob., 2Clar.in A, 2Bsn.,
2Horns in D, 2Cl. in D, Timp.in
D and A, Strings
2Clar. in B flat, 2Bsn., 2Horns
in E flat, Strings
2Ob., 2Clar.in B flat, 2Bsn.,
2Horns in B flat alto, Strings
NUMBER
SCENE
ACT
INSTRUMENTATION
OPERA
OPERA
Cherubino: Aria Non so più
cosa son, cosa facio (E flat)
Susanna, Basilio, Il Conte:
Terzetto Cosa sento! tosto
andate
Contessa: Cavatina Porgi
amor qualque ristoro (E flat)
[Clar. – harmonic, thematic
and soloistic role]
Cherubino: Arietta Voi che
sapete che cosa è amor
V
6
VI-VII
7
I
11
II
12
VIVIII
X-XI
XIXIV
16
La Contessa, Il Conte: Finale
Esci omai garzon malnato
23
Finale, Marcia Susanna, La
Contessa, Il Conte, Figaro
Ecco la marcia, andiamo
Basilio: Aria In quegl’anni, in
cui val poco
Figaro
Aprite
un
po’
quegl’occhi
(E
flat)
[Clar. – dramatic role]
Susanna,
La
Contessa,
Barbarina,
Cherubino,
Marcellina, Basilio, Il Conte,
Antonio, Figaro: Pian pianin le
andrò più presso
VII
26
VIII
27
XIII
and
XV
29
2Clar.in B flat, 2Bsn., 2Horns
in E flat, Strings
1Fl., 1Ob., 1Clar.in B flat,
1Bsn., 2Horns in E flat,
Strings (reduced formationdolce)
2Clar.in B flat, 2Bsn., 2Horns
in E flat, Timp. in E-b-B flat,
Strings
2Fl., 2Ob., 2Clar.in C, 2Bsn.,
2Horns in C, 2 Cl.in C, Timp.in
C-G, Strings
2Ob., 2Cl.in B flat, 2Bsn.,
2Horns in B flat alto, Strings
2Clar.in B flat, 2Bsn., 2Horns
in E flat, 2Cl. In E flat, Strings
2Ob., 2Cl.in B flat, 2Bsn.,
2Horns in B flat alto, Strings
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.
DON
GIOVANNI
dramma giocoso
KV
527
1787 - Prague
2Fl.,
2Ob.,
2Clar.,
2Bsn.,
2Hn.,
2Cl.,
3Tbn.,
Timp.,
Strings
CHARACTER,
ARIA,
ENSEMBLE
NUMBER
INSTRUMENTATION
Ouvertura: Andante. Allegro
molto (d)
2Fl, 2Ob., 2Clar.in A, 2Bsn.,
2Horns in A, 2Cl. in A, Timp.in
D-A, Strings
2Fl., 2 Ob., 2Clar.in B flat,
2Bsn., 2Horns in B flat, Strings
2Fl., 2 Ob., 2Clar.in A, 2Bsn.,
2Horns in A, Strings
NUMBER
SCENE
ACT
INSTRUMENTATION
OPERA
OPERA
I
XV
11
II
II
15
VI
18
X
19
X
21
Xd
21b
XI
22
XII
23
XIII
24
Don Giovanni
Fin ch’han dal vino (B flat)
Donna Elvira, Leporello,
Don Giovanni
Terzetto: Ah taci, ingiusto
core (A)
Zerlina:
Vedrai, carino (C)
Donna
Anna,
Donna
Elvira,Zerlina, Don Ottavio
Leporello, Masetto
Sestetto: Sola in bujo loco (E
flat)
Don Ottavio
Il mio tesoro intanto (B flat)
Donna Elvira: Mi tradi
quell’ alma ingrata (E flat)
[Clar. – dramatic soloistic
role (doubled by Bsn.)]
Commendatore
(Don Giovanni, Leporello)
Adagio: Di ridar finirai pria
dall’aurora (a)
Donna Anna Non mi dir,
bell’idol mio (F)
dolce
[Clar. – soloistic role]
Finale Donna Anna, Zerlina,
Don
Giovanni,
Il
Commandatore,
Leporello,
Masetto, Coro
2 Fl., 2Clar.in C, 2Bsn.,
2Horns in C, Strings
2Fl., 2Ob., 2Clar.in B flat,
2Bsn., 2Horns in E flat, 2 Cl.in
D, Timp.in D-A, Strings
2Clar.in B flat, 2Bsn., 2Horns
in B flat, Strings
1Fl., 1Ob., 1Clar.in B flat,
1Bsn., 2Horns in E flat, Strings
(reduced ensemble, see The
Marriage)
2Ob., 2Clar.in B flat, 2Bsn.,
3Tbn., Strings
1 Fl., 2Clar.in C,
2Horns in F, Strings
2Bsn.,
2Fl., 2Ob., 2Clar.in A (B flat),
2Bsn., 2Horns in D,
2
Cl.in D, 3 Tbn., Timp.in D-A,
Strings
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
alternatively39, 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"), ZenemĦkiadó Vállalat Budapest, 1961, p. 137.
39
It is a rare case when the oboe and the clarinet appear together.
29
COSÌ FAN
TUTTE
opera buffa
KV
588
1790
Vienna
2Fl.,
2Ob.,
2Clar.,
2Bsn.,
2Hn.,
2Cl.,
Timp.,
Strings
I
II
4
IV
6
IV
7
V
8a
VI
10
VIIIIX
XI
11
13
XI
14
XII
17
XIVXVI
II
CHARACTER,
ARIA,
ENSEMBLE
NUMBER
INSTRUMENTATION
Ouvertura: Andante. Presto (C)
2Fl., 2Ob., 2Clar.in C, 2Bsn.,
2Horns in G, Cl.in C, Timp. in
C-G, Strings
2Clar.in A, 2Bsn., 2 Horns in
A, Strings
2Clar.in B flat, 2Bsn., 2Horns
in E flat, Strings
2Clar.in B flat, 2Bsn., 2Horns
in B flat basso, Strings, continuo
2Clar.in C, 2Bsn., Strings,
continuo
NUMBER
SCENE
ACT
INSTRUMENTATION
OPERA
OPERA
IV
21
V
23
VII
24
IX
25
IX
27
IX
28
XV
31
Fiordiligi, Dorabella
Duetto (A)
Fiordiligi, Dorabella, Ferrando,
Guglielmo Don Alfonso
Ferrando, Guglielmo Duettino:
Al fato dan legge (B flat)
Fiordiligi, Dorabella, Ferrando,
Guglielmo Don Alfonso Di
scrivermi ogni giorno (F)
Fiordiligi,
Dorabella
Don
Alfonso :Terzettino Soave sia il
vento
[Clar. – distinct melodic line]
Dorabella:
Aria
Smanie
implacabili
Sestetto Alla bella Despinetta
[Thematic dialogue Ob-Cl.]
Fiordiligi:Aria Come scoglio
immoto resta
Ferrando:Un’aura amorosa
Finale Ah che tutte in un
momento
[Cl.I solo - bars 546-558]
Ferrando, Guglielmo, Cor
Duette con coro Secondate,
aurette amiche (E flat)
[Clar. – thematic role,
becomes a character]
Despina, Ferrando, Guglielmo,
Don Alfonso: La mano a me
date (C)
Ferrando:Ah
lo
veggio,
quell’anima bella (B flat)
Fiordiligi Rondo: Per pieta, ben
mio, perdona
Ferrando: Cavatina Tradito,
chernito (c)
Dorabella:
E
amore
un
ladroncello
Finale Fate presto, o cari amici
(C)
2Fl., 2Clar.in A, 2Bsn., 2 Horns
in E, Strings, continuo
2Fl., 2Clar.in B flat, 2Bsn., 2
Horns in E flat, Strings
2Ob., 2Clar.in C, 2Bsn, 2Cl.in
C, Timp.in C-G, Strings
2Clar.in B flat, 2Bsn., 2Cl.in B
flat, Strings
2Clar.in A, 2Bsn., 2 Horns in
A, Strings, continuo
2Fl., 2Ob., 2Clar.in A, 2Bsn.,
2Horns in D, Cl.in D, Timp. in
D-A, Strings
2Fl., 2Clar.in B flat, 2Bsn., 2
Horns in E flat, Strings
2Clar.in C, 2Bsn., 2 Horns in F,
Strings
2Clar.in B flat, 2Bsn., 2Cl.in B
40
flat , Strings
2Fl., 2Clar.in B, 2Bsn., 2 Horns
in E, Strings
2Ob., 2Clar.in B flat, 2Bsn., 2
Horns in C, Strings
1solo Fl., 2Ob., 2Clar.in B flat,
2Bsn., 2 Horns in C, Strings
2Fl., 2Ob., 2Clar.in C, 2Bsn.,
2Horns in C, Cl.in C, Timp. in
C-G, Strings
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.
DIE ZAUBERFLÖTE
singspiel
KV
620
1791 - Vienna
41
2Fl.,
2Ob.,
2Clar.,
2Cor.di.b,
2Bsn.,
2Hn.,
2Cl.,
3Tbn.,
Timp.,
Strings
Ouverture
Allegro (E flat)
I
NUMBER
INSTRUMENTATION
NUMBER
SCENE
CHARACTER,
ARIA,
ENSEMBLE
ACT
INSTRUMENTATION
OPERA
OPERA
I
1
IV
3
Adagio.
2Fl., 2 Ob., 2Clar.in B flat,
2Bsn., 2Horns in E flat,
41
Cl.in E flat, 3Tbn. ,Timp.
in E flat-B flat, Strings
Drei Damen, Tamino
Introduction Zu Hilfe! zu
Hilfe! sonst bin ich
verloen (c)
Tamino: Dies Bildnis ist
bezaubernd schön (E flat)
2Fl, 2Ob., 2Clar.in B flat,
2Bsn., 2Horns in E flat,
2Clarino in E flat, Timp.in
E flat-B flat, Strings
2Clar.in B flat, 2Bsn.,
2Horns in E flat, Strings
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
NUMBER
INSTRUMENTATION
NUMBER
II
CHARACTER,
ARIA,
ENSEMBLE
SCENE
ACT
INSTRUMENTATION
OPERA
OPERA
VIII
5
Drei Damen, Tamino,
Papageno:Quintetto: Hm!
hm! hm! (B flat)
2Clar.in B flat,
Violin I,II
XIV
7
2Clar.in B flat, 2Bsn.,
2Horns in E flat, Strings
XV-XIX
8
I
9
Pamina, Papageno:Duetto:
Bei Männern, welche LiE
flate fühlen (E flat)
Finale: Zum Ziele führt
dich diese Bahn
Larghetto: Herr, ich bin
zwar
Verbrecherin!
Pamina
Drei Knaben, Tamino,
Monostatos,
Sarastro
[Erster]
Priester,
Papageno, Chor (C, F)
Marcia
I
10
Sarastro, Chor: Tenore
I,II Basso I,II Aria con
coro: O Isis und Osiris
(F)
III
11
Zweiter Priester, Sprecher
Duetto: Bewahret euch
vor Weibertücken (C)
2Fl., 2Ob., 2Clar.in C,
2Bsn., 2Horns in C, Cl.in
C,3 Tbn., Timpani in C-G,
Strings
VII
13
Flauto piccolo, Flauto,
2Clar.in C, 2Bsn., Strings
XXVIXXX
21
Monostatos
Aria:Alles Fühlt der LiE
flate Freuden (C)
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)
42
2Bsn.,
2Fl., 2Ob., 2Clar.in C,
43
2Corno di Bassetto in F ,
2Bsn., 2Horns in G,
2Clarinos in C, 3Tbn,
Timpani in E flat-B flat
Strings
Flauto, 2Corno di Bassetto
in F, 2Bsn., 2Horns in F,
2Clarinos in C, 3Tbn.,
Timpani in E flat-B flat,
Strings
2Corno di Bassetto in F,
2Bsn., Trombone alto,
tenore and basso, 2Viola,
44
Violoncello
2Fl., 2Ob., 2Clar.in B
45
flat , 2Bsn., 2Horns in E
flat, Clarino I,II in C, 3Tbn.,
Timpani in C and G,
Stromento
d’acciaio
(Glockenspiel), Strings
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
LA CLEMENZA
DI
TITO
opera
seria
KV 620
1791 - Prague
2Fl.,
2Ob.,
2Clar.,
2Corni di
bassetto
2Bsn.,
2Hn.,
2Cl.,
Timp.,
Strings
I
II
46
CHARACTER,
ARIA,
ENSEMBLE
NUMBER
INSTRUMENTATION
Ouverture Allegro (C)
2Fl., 2Ob., 2Clar.in B flat,
2Bsn., 2Horns in C, 2Cl.in C,
Timp. in C-G, Strings
2Fl., 2Ob., 2Clar.in B flat,
2Bsn., 2Horns in E flat,
2Cl.in E flat, Timp. in E flatB flat, Strings
2 Fl., 2Clar.in B flat, 2Bsn.,
2Horns in E flat, 2Cl. in E
flat, Strings
2Fl., 2Ob., Clar.solo in B
flat, 2Bsn., 2Horns in B flat
alto, Strings
NUMBER
SCENE
ACT
INSTRUMENTATION
OPERA
OPERA
IV
4
Marcia (E flat)
IV
5
Coro (E flat)
IX
9
Sesto: Aria Parto, ma tu
ben mio (B flat)
[Clar.-thematic, soloistic
role,
wide
range,
independent and virtuosic
46
melodic line]
XI
12
V
15
X
18
XV
23
XVII
26
Vitellia, Servilia, Sesto,
Annio Publio: Quintetto con
coro Deh conservate, oh Dei
(E flat)
Tito,Publio,
patrizi,pretoriani e popolo:
Coro Ah grazie si rendano
(F)
Tito,Publio, Sesto: Terzetto
Quello di Tito è il volto (E
flat)
Vitellia: Rondo Non più di
fiori vaghe catene (F)
[Corno
di
bassettothematic, soloistic role,
wide range, independent
and virtuosic melodic line]
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 flatB flat, Strings
2Fl., 2 Ob., 2Clar.in C,
2Bsn., 2Horns in F, Strings
2 Fl., 2Clar.in B flat, 2Bsn.,
2Horns in E flat, Strings
Fl., 2 Ob., 2 Corni di
bassetto in F, 2Bsn., 2Horns
in F, Strings
2Fl., 2Ob., 2Clar.in C,
2Bsn., 2Horns in C, 2Cl.in C,
Timp. in C-G, Strings
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, Strings).
- 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,
Strings).
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, Strings – 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, Strings).
- 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, Strings) 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, Strings – 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, Strings (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, Strings) 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, Strings).
- 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 Strings.
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, Strings) or
Ferrando: Ah lo veggio, quell’anima bella (B flat) 2 Clar.in B flat, 2
Bsn., 2 Cl.in B flat, Strings.
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’Orfeo47 (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.
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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 Euridice48 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