 The Clarinet BBoard
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Author: Carmen Izzo
Date: 2001-12-24 02:58
Merry Christmas, Kwanza, Chanukkah, Festivus, or winter Solstice Sneezers!
This is kinda a couple topics in one but, i recently bought a recording featuring Robert Marcellus playing the Mozart Clarinet Concerto. It is a wonderful topic, and its interesting because i have been playing it back and forth with my Alfred Prinz recording. They are both great recordings and I love comparing the different sounds that they generate. Personally, I prefer the stylistic devices that marcellus uses throughout the concerto, but thats my opinion (and my instructors).
Also in the CD are two Flute Concerti, K313 and K314. The first time I heard K314 it was an Oboe Concerto, and all the millions of times i have heard it, it was an oboe concerto, in fact my favorite mozart concerto ever. A couple of times ive heard flautists play K314 while the warm up at concerts, or at a rehearsal, and i think i overheard a flute playing K314 on the radio but didnt make the connection. Was this originally written for flute or Oboe? Does anyone else know about the original intent of instrumentation for these pieces and the transition in which it made?????
Good Clarineting to all, and to all a good night!
Carmen
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Author: Mark Charette
Date: 2001-12-24 03:21
The authoritative data from the Neue Mozart Ausgabe shows it as written for either flute or oboe:
KV 314 (285d)
Werktitel NMA Konzert in D für Flöte und Orchester Konzert in C für Oboe und Orchester
Werktyp Solokonzert
Entstehung [Flötenfassung:] Entstanden wahrscheinlich Januar oder Februar 1778 in Mannheim [Oboenfassung:] Entstanden wahrscheinlich Salzburg, Frühjahr oder Sommer 1777
NMA Notenband
Erschienen 1981 (Franz Giegling)
Seitenzahlen 53–88: Flötenfassung 97–132: Oboenfassung 174: melodieskizze zum ersten Satz (Faksimile und Übertragung)
Kritischer Bericht 1986 (Franz Giegling)
Auch in NMA Notenband --
TB-Ausgabe TB-WA Bd. 14, Konzerte I, S. 14/581–14/616 [Flötenfassung] 14/625–14/660 [Oboenfassung]
Besetzung 2 Oboi; 2 Corni; Flauto principale (Oboe principale); Archi
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Author: GBK
Date: 2001-12-24 03:28
Carmen... Mozart's K.314 has a very confusing origin, and much has been written about it by music historians. The pieces are identical (aside from cadenzas, dynamics, articulation) for oboe and flute. The current prevailing theory now leans towards the fact that the D major flute version was adapted from the original C major oboe version.
In 1777, Mozart was fulfilling a commission from the Dutch amateur flutist De Jean for "3 easy concertos and 2 flute quartets". Historians speculate that either: 1. the size of the commission was too large for Mozart to finish quickly, and/or 2 Mozart was distracted by Weber's younger daughter, and/or 3. Mozart lost interest in the commission, or 4. all of the above. Thus, Mozart rearranged the C major oboe concerto and submitted it to De Jean as the D major flute concerto.
By the way, since Mozart was late in fulfilling the commissioned works to De Jean before his planned trip to Paris, he was only paid 96 florins instead of the 200 florins he was promised.
The moral of story...even if you are Mozart...some people are never satisfied...GBK
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Author: GBK
Date: 2001-12-24 21:02
Ken...Thanks, I hadn't read your original postings.
Also, in Mozart's letters (February 14, 1778), he referred to K.314 as the "Ferlendis - Konzert", giving more credence to the fact that this work was originally for the oboist Guiseppe Ferlendis of the Salzburg Royal Orchestra.
Did you know that many historians now think that the theme of the Rondo in the 3rd movement was "re-borrowed" by Mozart to use as the theme for one of the arias in "Abduction from the Seraglio" K.384 (1782)?
It is truly difficult to comprehend the prodigious compositional talent of the young Mozart. The more I read and study about it, there more I am left speechless...GBK
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Author: Alphie
Date: 2001-12-24 23:35
GBK
You're absolutely right about the suggestion that the Rondo from the oboe concerto K.314 has simmilarities with Blondie's (Blanchen's) aria: Welche Wonne, welche Lust", from "Abduction from the Seraglio" K.384.
The first time I was playing The Abduction in 1985 it took me the whole summer to figure out where I had heard that piece before since it was the first time I had ever heard The Abduction. By the last performace (out of 12) someone told me that Mozart had been inspired by the Rondo of the oboe concerto and fianally I could breath again.
You know what it's like, the frustration when a piece sticks to your brain and you can't figure out what it is or where you have heard it before.
Alphie
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