| Summary: | 碩士 === 國立嘉義大學 === 音樂學系研究所 === 106 === The theme to be discussed in this paper is Mozart Clarinet Concerto in A major, K. 622. The concerto was written in the year of Mozart’s death, it fully demonstrates the musical techniques that Mozart possessed in his mature period and has become the classical piece of the concert program in the classical period of clarinet. In the paper, the author will analyze and explore the moving piece completed shortly before Mozart’s death through a variety of different research methods. In addition, how to show the aesthetic in music by the professional play of concerto is also discussed.
There are 6 chapters in this paper. The first chapter is divided into two parts and in the first part the author will elaborate the motive and objectives of writing this paper. In the second part, the author will further explain the research scope that Clarinet Concerto in A major, K. 622 involved and the research methods it used. Especially for one of the research methods emerging in late 20th century, An Eclectic Method for Musical Analysis, there will be the detailed explanation.
In the second chapter, the author would like to explore the being background of Mozart’s musical pieces. It will be starting from the musical style of “Classical period”, the era that Mozart lives, and followed by the discussion on the life of Mozart, particularly the experiences in his old age. Finally, the focus will be on musical style of Mozart’s old age. By the unravelling exploration, we would obtain a better understanding on Mozart.
In the third chapter, the author will have a research on the life of Anton Stadler who is a clarinet player as well as a good friend of Mozart, and the form and techniques of playing Basset Clarinet that he is good at to further explore how would these bring the inspiration for Mozart’s creations.
In the fourth chapter, the author will analyze the musical structure of Clarinet Concerto in A major, K. 622 in detail, including the elements incorporated in this concerto from as little as one phrase to the comprehensive form of the concerto.
The fifth chapter will be based on the exploration of being background of Mozart’s musical pieces in chapter 2 to discuss how to play the concerto matching with the articulation and dynamic of contemporary style from the performance practice’s point of view. The author will also make the recommendations regarding the different interpretations of Cadenza for further discussion.
Finally in chapter 6, the author will integrate all the previous analysis and make the conclusion for this concerto by the personal musical interpretation.
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