Mozart Clarinet Concerto

Some pieces of music are so great as a whole, that some of the magnificent details are missed. Such, I discovered, can be the case with Mozart’s Clarinet Concerto, truly one of music’s greatest treasures. Every measure of each of the three movements is to be relished. But it is the second movement that is, for me, the most moving and unforgettable. For me, this movement is one of the most poignant movements ever written. Its sublime nature never fails to move me, as I’m sure it does all who play or listen to it. The solo clarinet part is one transcendent phrase after another. T he layered sequential patterns of the orchestral ritornelli bring tears to even the most hardened of eyes. In the midst of hearing Heaven, does anyone notice the cellos?
One of the elements of Mozart’s music that gives it great expressive power is the feeling that even in the sunniest of movements, there is some degree of heartache or pain. In this movement, I believe that the heart-tugging quality is provided by the cello line, played expertly by Karen Pinoci, Nancy Connell and Alex Filamon in the March 8 performance I conducted with the Baroque Orchestra of New Jersey.
The heart-tug begins right in the very first measure. Seemingly, the notes “d-a-d” are simple roots of tonic-dominant-tonic. Yet, Mozart creates a tug by having the V-I occur on beats 1 and 2, almost creating a sort of metrical appoggiatura. As if to emphasize a sense of distance and growing apart, the clarinet repeats the phrase with slight variation so that it reaches a 3rd higher before falling back. The cellos repeat their phrase exactly, unable to soar along with the clarinet. Then follows the first orchestral ritornello echoes the opening eight measures of the clarinet line. The cello line serves the same harmonic function, but now has a rhythmic element. The opening dotted half note becomes a quarter note – quarter rest – quarter note figure. Now, not only can’t the line soar upwards with the melody, it is almost too sad to even hold pitch for the entire measure. Next the clarinet plays the moving 2-measure long sequential passage that provides the heart of the movement. Again, the cello line seems to be a normal supportive bass line. However, it again adds greatly to the emotional poignancy. Like the clarinet, earlier, the phrase moves upwards as if reaching towards the upper part. However, now, the clarinet phrase, though rising sequentially with each statement, is a dropping figure. The two are still unable to soar together. In the process, in the midst of near-sublime beauty, there is an aching tug of emotions, a sadness that colors and adds greatly to the poignancy of the feeling communicated to the audience.
I admit it’s easy to read a lot of meaning in this line. Mozart’s genius lies in so many aspects of his writing and this is just a seemingly small part. However, in conducting it in rehearsal and in concert, hearing the cello line achingly interact with the familiar melodic phrases, I realized just how powerful the writing is. Next time you listen to the second movement of the Mozart Clarinet Concerto, pay closer attention to the brilliant attention Mozart gave to that cello line. Appropriate for music of the era, the cellos provide a strongly supportive harmonic bass. At the same time, they provide an emotional depth as they are played with, against, in support of and in contrast to the melodic motion above them.