Exposition

A Comparison of Approaches to Interpretation and Articulation in the First Movement of Mozart’s Clarinet Concerto K622 (2022)

Michael Wong
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About this exposition

Articulation approaches are an essential aspect in Mozart's concerto, and they are always a topic of dicussion amongst clarinetists who are studying it. This exposition is a study of varied articulation approaches by carrying out comparisons and experiments concerning articulation in relation to technical security, the possibility of using varied articulations, and choice of articulation in relation to orchestral structure and harmony progression. I have compared recordings of the first movement by four clarinettists, each representing different times and styles: a 1956 recording by Benny Goodman with the Boston Symphony Orchestra conducted by Charles Munch, a 1990 recording by Sabine Meyer with the Staatskapelle Dresden conducted by Hans Vonk, a 2016 live performance played and led by Eric Hoeprich with the Orchestra of the Eighteenth Century, and a 2016 live performance played and led by Paul Meyer with the Omega Ensemble. All of these recordings and performances represent a different soloistic approach to the concerto, while the the orchestral accompaniment texture is also considered, with a focus on how both solo and accompaniment parts either coordinate with each other or feature the solo clarinet's line. Experimenting with these possibilities has led to a personal approach to interpretation and articulation in this well-known concerto.
typeresearch exposition
keywordsMozart, Clarinet, Articulation, Recordings
date22/11/2021
published11/07/2022
last modified11/07/2022
statuslimited publication
copyrightMichael Wong
licenseCC BY-NC-ND
urlhttps://www.researchcatalogue.net/view/1433264/1547613
published inKC Research Portal
portal issue3. Internal publication


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