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1967

An Analysis of the Styles of C. Saint-Saëns and W. A. Mozart with

Emphasis on Their Clarinet Compositions
Gerald Kenneth Steele
Central Washington University

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Steele, Gerald Kenneth, "An Analysis of the Styles of C. Saint-Saëns and W. A. Mozart with Emphasis on
Their Clarinet Compositions" (1967). All Master's Theses. 1064.
https://digitalcommons.cwu.edu/etd/1064

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 AN ANALYSIS OF THE STYLES
••
OF C. SAINT-SAENS AND W. A. MOZART

WITH EMPHASIS ON THEIR CIARINET COMPOSITIONS

A Covering Paper

Presented to

the Graduate Faculty

Central Washington State College

In Partial Fulfillment

of the Requirements for the Degree

Master of Music in Education

by

Gerald Kenneth Steele

August, 1967
 --- - - ---- -- -~
NOU.:J]llO:J
1\ll:Jlc:IS
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£ • tu,g
<J1
APPROVED FOR THE GRADUATE FACULTY

________________________________
A. Bert Christianson, COMMITTEE CHAIRMAN

_________________________________
John W. DeMerchant

_________________________________
Alexander H. Howard, Jr.
 DEPARTMENT OF MUSIC
CENTRAL WASHINGTON STATE COLLEGE

presents in

GRADUATE RECITAL
GERALD K. STEELE, Clarinet
and

MRS. PATRICIA SMITH, Piano

PROGRAM

Concerto for Clarinet, Op. 107, K. 622 ... W. A. Mozart

Allegro moderate
Adagio
Rondo Allegro

BRIEF INTERMISSION

Arabesques ......... Jean-Jean

Promenade .... R. Clarisse

Invocation to Euterpe ..... ...... ...... ...... .. ..... .V. Dyck

BRIEF INTERMISSION

Sonata for Clarinet and Piano, Opus 167 ......... C. Saint-Saens

Allegretto
Allegro animate
Lento
Molto allegro

, NOTE: This program has been presented in partial fulfillment for the
Master of Education degree in music.

HERTZ RECITAL HALL

August 14, 1967
8:00 P.M.
~ ROGERS PRINT SHOP
 ii

TABLE OF CONTENTS

CHAPTER PA GE
..
I. BIOGRAPHICAL DATA ON CAMILLE SAINT-SAENS. • • • • • • • • • • 1
..
I I. INFLUENCES ON THE LIFE OF SAINT-SAENS............... 6
..
III. STYLES OF COMPOSITIONS USED BY SAINT-SAENS......... 13

N. ANALYSIS OF SONAT~. POUR CIARINETTE, OP. 167-

CAMILLE SAINT-SAENS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 16

V. BIOGRAPHICAL DATA ON WOLFGANG AMADEUS MOZART. • • • 28

VI. INFLUENCES ON THE LIFE OF MOZART................... 36

VII. TECHNIQUES USED IN CONCERTOS BY MOZART • • • • • • • • • • • 43

VIII. ANALYSIS OF CONCERTO FOR CIARINET, K. 622-

W. A. MOZART. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

IX. CONCLUSIONS....................................... 63

BIBLIOGRAPHY . . . . . . . . . • . . • • • . . . . . . . • . • . . . . . . . . . . . . . . . . . • . . 69
 CHAPTER I

..
BIOGRAPHICAL DATA ON CAMILLE SAINT-SAENS

Camille Saint-Saens (1835-1921), an outstanding French composer,

lived a childhood full of happiness--and of music. His father died of

consumption about two months before Saint-Saens was born. Many felt

that because of his father's habits, Saint-Sae·ns was destined to become

the same type of person. He was sent to live with a nurse in the country

until he was two years old, then was returned to his mother and great-

aunt, to whom he gives much credit for his musical background. (18: 3)

Lyle states that "Saint-Sa~ns became great because of his inherent

genius, which a thoroughly sound musical education and the well-

balanced outlook on life instilled in him by his natural guardians,

enabled him to express to the full." (13:46)

One might wonder why Saint-Saens, who apparently was a musical

genius at an early age, didn't either die at an early age, as did Mozart,

or fail to develop his genius into maturity. Lyle gives as a possible

explanation the fact that with many musicians who show exceptional

promise at an early age "the genius in early life is encouraged to burn

with such a fierceness, that the forces of supply at their source is

consumed and the reserve is drained." (13:1) Saint-Saens was

 2

encouraged to enjoy music, but was never forced. Saint-Sae"ns said

himself: "As for the threat of whippings, that must be relegated to the

realm of legend." (18:6)

As a child, Saint-Saens showed a great personal pleasure with any-

thing musical, from the single tones of the pianoforte to the whistling of

a teakettle. (18:4) He displayed an uncommon ability in piano playing,

a sensitive ear, great musical memory, and an unerring sense of pitch.

Attesting to his ability of sensing pitch, the story is told that after his

great-aunt and his mother found that he wanted to play the piano, they

decided to have the piano tuned. While the tuner worked, Saint-Saens

was in another room playing with his toys, he correctly named each note

that the tuner struck. (3: 3 64)

At the age of seven, Saint-Saens began formal study on the piano

with Stamaty 1 who, in Saint-Saens' own words "was surprised at the way

my education in music had been directed and he expressed this in a

small work in which he discussed the necessity of making a correct start.

In my case, he said, there was nothing to do but to perfect." (18:8) He

also studied with Maleden at about this time, and at the age of ten was

proficient enough to be able to play in public one of Beethoven's sonatas,

and at age eleven, gave his first piano recital.

He entered the Paris Conservatoire at age thirteen, and during his

 3

stay there, met Franz Liszt, who was to have such a profound influence

on his musicianship later on. At about age fifteen, while at the

Conservatoire, Saint-Saens studied with Halevy. Ha levy was more con-

cerned with his own compositions and didn't pay too much attention to his

pupils, even to the point of not showing up for classes. On days when

Ha levy was not in attendance, Saint-Saens would go to the library and

study the scores of ancient and contemporary composers. "There, as a

matter of fact, I completed my education." (18:19)

Saint-Saens' career as a composer probably started in 1853, with his

First Symphony in E-flat. He had written a few pieces before then (Ode

a Sainte Cecile and Trois Morceaux among them), but they were not

published, and therefore he received no recognition for them. With the

Symphony in E-flat, his friendship with Berlioz and Gounod came about.

Since there were some prejudices against unknown composers at that

time, the Symphony in E-flat was initially performed under a false name.

Berlioz and Gounod had heard the first performance of this symphony and

were having a conversation about the good and bad merits of it. They

were quite astounded and extremely complimentary when they learned that

it had been written by Saint-Saens. (13:12-13)

A similar incident occurred at a reception at the home of Rossini,

where his Tarantelle for flute and clarinet (op. 6) was performed in 1857.
 4

The guests thought it had been written by Rossini, and were amazed when

they learned that it had been written by the then twenty-two year old

Saint-Saens. (13:18)
0

From 1858 to 1877, Saint-Sae ns held the position of organist at the

Church of the Madeleine. This proved to be a very profitable position,

not only financially but professionally, because of the status and social

opportunities connected with it.

In 1871, to protest against the almost general antipathy shown in

Paris to living French composers and especially to those who wrote

instrumental music, he joined Romaine Bus sine as a founder of the Societe

Nationale de Musigue, whose object was to produce new works of the

French School. (3:366) France was in great need of the influence which

he exerted, but it is interesting to note that his main influence was by

his social gifts rather than by the example of his own work. While other

composers consciously tried to break away from the traditional French

style of music, Saint-Sae'ns' works remained thoroughly conservative.

Many reasons are given for the fact that such a small amount of

Saint-Saens' large output remains popular today. He wrote in a very

conservative style, refusing to adapt the changes in French music that

came about through the Societe Nationale de Musigue and as a result of

the Franco-Prussian War. As Stringham states:

 5

His was the peculiar fate of all performers who outlive their
period. He began as a flaming radical in music, became more and
more conservative as he went along, and ended completely out of
sympathy with the very developments that he himself had been instru-
mental in getting under way. (19:283)
 CHAPTER II

INFLUENCES ON THE LIFE OF SAINT-SAENS

..

A discussion of the people and places that were influential to

Camille Saint-Saens becomes limited from the fact that not a great deal

has been written on the life of this French composer .

..
As with Mozart, one of Saint-Saens' most important influences

undoubtedly came in his childhood. As stated in Chapter I, Saint-Saens

received his early musical training from his mother and his great-aunt.

They trained him on the music of Haydn and Mozart, and by the time he

was five years of age, he had learned enough to play small sonatas

"correctly, with good interpretation and excellent precision." (18:6)

They also encouraged him to learn to write music. He started writing

galops and waltzes at the age of five. His great-aunt did not foresee

his immediate future in composition and didn't expect anything in this

field so soon.

Stamaty became Saint-Saens' teacher when he was seven, and it was

from this man that Saint-Saens learned the finer points of piano playing.

He was taught by a method called the guide main. This method involved

putting a rod in front of the keyboard. The player was to rest his fore-

arm on this rod so that all muscular action except that of the hand was
 7

suppressed. Saint-Saens was not in favor of this method for modern

works, because the system was intended for teaching how to play pieces

for the harpsichord or the first pianofortes, the keys of which responded
0

to slight pressure. For modern instruments of Saint-Sae ns' time, it was

not the best system to use. He did recommend the system as the proper

way to start, though, as it developed "firmness of the fingers and

suppleness of the wrist." (18:9)

From Stamaty, Saint-Saens also learned the continuous legato, which

according to Saint-Saens "is both false and monotonous." (18:10) He

claimed that this technique resulted in a lack of discrimination with

regard to nuances and expression. He states that he was unable to con-

form to it and as a result, Stamaty didn't feel that he would ever get a

very good effect from his piano playing.

Through Stamaty, Saint-Saens met Maleden, who was to be his teacher

in composition. From Maleden, he learned a system of composition in

which the chords "are not considered in and for themselves -- as fifths,

sixths, sevenths -- but in relation to the pitch of the scale on which

they appear. " (18: 12) The chords in this system had different character-

istics depending on where they were used, and made clear to Saint-Saens

certain things which, before he learned the system, could not be explained.

Maleden was at times somewhat overbearing, and when Saint-Saens

 8

didn't agree with him on a certain point, would "take me by the ear, bend

my head and hold my ear to the table for a minute or two in an attempt to

change my mind." (18:12-13) If Maleden was not successful in changing

Saint-Saens' mind, he often would confess that he was wrong in the first

place.

Benoist, the organ teacher at the Conservatoire where Saint-Saens

was studying, received him as an "auditor" (a listening-only pupil) when

he was fourteen. During this time Saint-Saens studied Bach organ music

and eventually proved his ability to Benoist and was admitted as a regular

pupil.

At fifteen, Saint-Saens came under the tutelage of Halevy for additiona 1

study of composition. Since he had already studied considerable harmony,

counterpoint and fugue under Maleden, his main tasks in Halevy's class

consisted of the study of vocal and instrumental music and orchestration.

It has already been stated in Chapter I that, because of Halevy's frequent

absences from class, Saint-Sa~fos spent much time in the library studying

musica'l scores. The greatest value from Halevy's class, other than that

of having the opportunity to visit the library, seems to have come from

the other pupils in the class, who gave each other instruction.

During the years of study in the Conservatoire, Saint-Saens made the

acquaintance of Franz Liszt. Liszt was to have a great deal of influence

 9

on Saint-Saens' compositional styles from about 18 69. He had asked

Liszt for criticisms on his work and Liszt replied as a fellow composer,

not as an authority. Liszt was often asked for advice by his fellow artists,

and he gave freely of this advice, without feelings of rivalry, and with

complete freedom from thoughts of self. Saint-Saens began using the

symphonic poem as an art form frequently, and his exploitation of the

symphonic poem bears evidence of his admiration for Liszt. (13:24) He

followed Liszt's lead without imitating him in composing his four symphonic

poems. The first concerto for piano and orchestra also illustrates the

influence of Liszt, as does his Danse Macabre. The Third Symphony in

C minor was composed at the request of the Royal Philharmonic Society

of London and was dedicated to Franz Liszt at its first performance.

The use of the clarinet by Saint-Saens might be a result of his

admiration for Joseph Haydn. Haydn introduced the clarinet into the

orchestra, where before it had been used only "to replace the shrill tones

that the trumpet lost as it gained in depth of tone," (18:211) In his first

attempts at writing for the clarinet, Haydn took advantage of the

"chalumeau" register and of the flexibility and range of the instrument.

Saint-Saens was apparently very impressed with Haydn, for he said:

"No musician was ever more prolific or showed a greater wealth of

imagination." (18:110)
 10

The influence of Bizet in the 18 60' s is apparent, as during this time

Saint-Saens spent a great deal of time in the composition of opera. (13:21)

His best operatic compositions, Le Timbre d 'Argent and Samson et Dalila

were completed during this period. Unfortunately, Le Timbre d 'Argent has

become obscure, but Samson et Dalila remains well known today. It is

possible that the Fourth Piano Concerto and the chorale of the Quartet in

B-flat (op. 41) reflect the physical effect felt by Saint-Saens on the death

of Bizet in 1875. (13:28)

Chopin probably had some influence on Saint-Saens' composition also,

as indicated in his Second and Fifth Piano Concertos and in the First

Sonata for violincello and piano. However, this apparent influence is

only conjecture, since Saint-Saens didn't especially care for Chopin's

music. He once said:

A dog that was fond of music would curl itself up, under the legs,
or beside the feet, of the pianist, but after hearing eight bars or so
of any piece by Chopin, the animal would get up and leave the room,
with its tail between its legs. (13: 54)

Among the most important influences on Saint-Saens' composition,

things of nature, especially atmosphere, must be mentioned. Phaeton,

the second part of the Third Symphony, Le Rouet d'Omphale and the last

number of The Promised Land are examples of his attempts to portray

space through his music. The Danse Macabre and the Fantasia Africa

are also indicative of extraneous suggestion upon his composition. Lyle

 11

says of the Fantasia:

The Fantasia is an arresting example of the inherent ability of

Saint-Saens to translate the very atmosphere of his surroundings
into music; to transfigure his material circumstances and his emotions,
so that they are intuitively sensed in the imagination of his hearers.
(18:37)

The Societe Nationale de Musigue has been mentioned as having been

founded by Saint-Saens and Romaine Bus sine. The Societe finally made

it possible for the newer French composers to present their works to the

public and it was due to these efforts that music other than theatrical

became again acceptable. (12:925) So, in an indirect way, the Societe

was to have an influence on Saint-Saens, for without the Societe, his

music may never have become popular in his time.

Another example of an indirect influence on at least one of the Saint-

Sae·ns compositions is the Sonata in C minor, which reflects the anguish

experienced by Saint-Saens during the German occupation of Paris in 1870-

1872. (13:26) He had lost two dear friends during the siege, Henri

Regnault and the Abbe Deguerry, and dedicated his Marche Heroigue to

the memory of Regnault.

Saint-Saens was not interested in music alone. He had some interest

in art and literature also. One poet that was to become a favorite was

Victor Hugo. Saint-Saens had considered poetry cold and far-away, but

after being presented with a bound volume of Hugo's poems, he said: "I
 12

found myself at once stirred to the depths, and, as my temperament is

essentially musical in everything, I began to sing them." (18:26) He

spent many evenings at the Hugo home, reading poetry and discussing

music. Hugo apparently appreciated Saint-Sae'ns also, for he asked him

to write the music for his poem La Esmeralda. This request was to indirectly

cause a break in the friendly relationship between these two men. Saint-

Saens did not wish to be involved with this poem because he didn't feel

it was a very happy adaptation of a famous romance. (2:30) However,

rather than to refuse to do the work, he just stopped visiting Hugo.

In 1881, in connection with celebrations planned for the unveiling

of a statue of Hugo at Trocadero, Saint-Saens wrote Hymne a Victor Hugo.

The celebration did not come off as planned, and it wasn't until M.

Bruneau proposed a series of spring concerts at Trocadero that the Hymne

was performed. Hugo was present at the first performance, and from then

on their friendship was renewed.

As did many composers, Saint-Sae'ns imitated other composers in some

areas. However, it was apparently not Saint-Saens' intent to purposefully

imitate other composers. This is evident from his statement: "In imitating

a model, the resemblances occur in the faults and not in the excellences,

for the latter are inimitable." (18 :134)

 CHAPTER III

STYLES OF COMPOSITION USED BY SAINT-SAENS

Gounod once said that Saint-Saeins "could write at will in the

style of Rossini, Verdi, Schumann, or Wagner. He is a musician armed

with every weapon; he knows the masters by heart." (13:49) This state-

ment is undoubtedly true, but one finds in the music of Saint-Saens

many techniques, or styles which are truly his own.

Saint-Saens wrote with a large degree of spontaneity, seldom

going to the trouble of re-writing. He often had a piece "written" in his

mind before putting a note down on paper. Sometimes his ideas came as

he wrote. Seldom did he use the "sketch" method of composition as did

Beethoven. It is interesting to note that of the larger works that he did

rework, most have become obscure today; Le Timbre d'Argent, Proserpine,

and Dejanire.

The music of Saint-Saens is strongly rhythmic. In his middle and

later periods, he used a technique of changing time signatures in alter-

nate bars, or as interpolations, wherever he felt their need.

In his piano concertos, one technique that seems to have been a

favorite with Saint-Saens is that of having a broad melody in octaves for

the right hand accompanied by flowing arpeggios for the left hand. (13:53)
 14

This technique is evident in such compositions as the second movement

of the Fifth Piano Concerto and the first movement of the Second Piano

Concerto, as well as in the First Sonata for 'cello and piano.

Saint-Sae.ns often began his themes on the middle or last beat in

the bar, and the dotted, and double-dotted note is characteristic of his

melodic line. The First and Second Symphonies, the Violin Concerto in

B minor, the clarinet Sonata (op. 16 7), and the First and Second Quartets

for strings show evidence of this technique. The cyclic plan of con-
..
struction used by Saint-Saens in his larger works and in his chamber

music is a possible sign of Liszt's ideas.

Saint-Sae"ns did not create any new type of form in music, pre-

ferring to compose in the traditional forms of the symphony, symphonic

poems, concerto, opera and oratorio. His knowledge of form in music

often made up for any shortcomings he may have had in other areas. His

music sometimes lacked strength of character and imaginative power, but

by correct usage of form, especially in his symphonies, he was able to

cover these weaknesses. His skill and technical knowledge were

remarkably high. "His command of orchestration is supreme and the same

may be said of his sense of form, which is exemplified at its best in the

symphonic poems and in the Third Symphony." (3:367)

In Chapter I, it was mentioned that one of the reasons for such a

 15

large amount of music by Saint-Saens being unknown today was that he

outlived his period--didn't go along with changes in musical style that

his contemporaries developed. Blom (3:367) states as another reason the

fact that Saint-Saens' treatment of ideas itself may be the largest factor

to be considered:

His music is more brilliant than moving and characterized by

certain coldness. He remained indifferent to the quality of his ideas.
His imagination asserts itself far more in the treatment of his
materials than in actual invention. It is perhaps chiefly for this
reason that only a small proportion of his big output survives.

Whatever the reasons for Saint-Saens' music not being performed

to a great extent today, that which is in the modern repertoire will remain

and will be enjoyed as the music of a man who played a great part in the

formation and in the recognition of the French school of music.

 CHAPTER IV

ANALYSIS OF SONATA POUR CIARINETTE, OP. 167-CAMILLE SAINT-SAENS

..

First Movement

The first movement of the clarinet Sonata, marked Allegretto,

starts with a germinal motive of four notes:

·£., J )I J. J. ets.
This motive is then stated a second time, but a major third higher, and

extended through the next six measures. This constitutes the first theme.

The theme is then restated and extended for the next sixteen measures.

The rhythmic treatment of this first theme is characteristic of Saint-Saens'

style in many of his works. He used the dotted-quarter and double-dotted

quarter notes frequently. The quarter-eighth figure used in this first theme

of the clarinet sonata gives a similar effect to that which would be produced

by a dotted-quarter, eighth note rhythm. This rhythm is continued through-

out the "A" section of the movement.

The "B" section begins with a two measure statement by the piano

which emphasizes again the rhythm of the theme of the "A" section. Then

the clarinet states the first motive of the first theme in the "B" section:.

~ -~ ~ ~~· ~
91 1! pr u:t W J ti I f ~
 17

This motive is developed for four measures when the second motive is

stated:

The second motive is then repeated an octave higher. This theme is

developed by way of arpeggios which seem to be intended to exploit the

The time signature changes after this to 9/8 for four measures,

then back to 12/8. This is another of the techniques which Saint- Saens

favored in other works. These changes do not seem to be there just for

the sake of change, but because Saint-Saens apparently felt that the flow

of the melodic line demanded change.

Beginning with the return of the time signature to 12/8, a develop-

ment section exploits the virtuosity of the clarinet and also emphasizes

the rhythm of the theme from the "A" section:

A portion of the theme from the "B" section is restated before

leading to the recapitulation of the "A" section, this in the key of A-minor.
 18

The first movement is brought to an end by repeated statements of

the first motive, but in an extended fashion:

~"I J
~
J' Ifl
""'""
j 1- J I j JI J ~
....,.,..
and by a very soft statement of an arpeggio in F, the beginning key of the

movement.

Another technique used in this movement which is used by Saint-

..
Saens in other works is that of starting the melody on the last beat of the

measure.

As to form, the first movement follows an A-B-A'-A pattern. The

first statement of the theme of the "A" section is in F major. The "B"

section does not seem to have a definite tonality until the return to the

12/8 time signature, where it is in D-flat:

The recapitulation is in A-minor, then returns to F major at the end. The

tonality, therefore, is not that of a traditional sonata first movement. One

would expect that after the statement of the first theme, the contrasting

"B" theme would be in either a dominant key or a relative minor but this

theme is in the relative minor of the dominant. Saint-Saens then did not

stay with traditional tonalities in this sonata, but very effectively weaved
 19

his themes through several keys, and carefully worked them back to the

key of F major at the end of the movement.

Second Movement

The second movement is in a light, dance style. Saint-Saens

again makes use of the technique of starting the melody on the last beat

of the measure. The first melodic motive:

is combined with another statement of the same motive, in the second

inversion of the B-flat chord. Then a smooth, flowing motive completes

the first theme.

,,-g;fig 1iJG? 4 IV~

Light articulated arpeggios serve as a transition to another statement of

the first motive, this time on a B diminished 7th chord. Another transi-

tion leads to a third statement of the motive on a D-sharp diminished

7th chord. After this third statement of the theme, the arpeggios lead

to a smooth, flowing transition ending the "A" section:

'i-tf1rWrmt 1WC@17? (@qrfffrr] 1

&•• Lttrfr 1ff1Fr:t1Bf: 1..1-.1

 20

The "B" section of the second movement starts with alternating

notes of the twelfth, which is the natural interval produced on the clarinet

by activating the register key without changing fingerings:

This is followed by rapidly moving triplets, to complete the statement of

the first theme of the "B" section.

A calm eight-measure phrase leads back to a restatement of the

main theme. Then the theme is developed by raising it a minor third, to

complete the "B" section.

The piano accompaniment begins the recapitulation with a short

statement of the first motive from the main theme of the "A" section.

From this point on, the recapitulation is an exact repetition of the "A"

section. A ten-measure Coda in which the main themes are momentarily

stated, brings the movement to an end.

Third Movement

In the third movement, Saint-Saens displays his handling of a

melodic line, apparently with the purpose of illustrating a particular

thought or idea. The slow, dark melody of the third movement might have

been intended to suggest sadness or even death.

 21

Divided into two portions, the movement begins with three unison

notes by the piano. In the second measure, the clarinet, in the low

chalumeau register plays the melody in dark, fairly heavy tones. This

first statement of the melody is intended to be played forte throughout

with little dynamic change.

After a statement of fortissimo chords for seven measures, followed

by six single E-flats by the piano, the clarinet gives a practically note-

for-note restatement of the melody, but in the higher clarion range. This

half of the movement is to be played pianissimo throughout, again with

little dynamic contrast.

The movement, marked Lento, is in the key of F-minor, which

tends to add to the sad feeling portrayed by the melody.

An eight-measure transition by the piano leads directly (segue)

into the last movement.

Fourth Movement

As if to renew a feeling of happiness after the slow, sad third

movement, the fourth movement is written Molto Allegro.

The piano begins the movement with a soft tremolo for three

measures, then is joined by the clarinet playing rapidly-moving scale

and arpeggio passages in the keys of F, G, G-sharp, and B-flat. During

 22

these scale passages, the piano continues the tremolo. The activity of

the clarinet passes to the piano part, after the first series of scales and

arpeggios, for one measure. The clarinet then returns to scale passages

and arpeggios, but during this series, the piano adds to the rhythm a little

more by emphasizing the beat with an octave on the first beat, two eighth

notes on the second, and quarter notes on the third and fourth:

• -~ - .... .,,, "+ •

. .. - .- - - .
--
~
_.,.
-- ..
.... -
-
~

..
~
-·-·-·"· =

.. - .
.J ~
•- . • -
••~A ... . - .-
:; .
In the twentieth measure of the movement, the clarinet ends the

first section with arpeggios on an A diminished 7th chord and a C-minor

7th chord, which the piano emphasizes with accented half-note chords

and a moving bass part. A transition of triplets in the clarinet part with

outlined chords in the accompaniment leads to a calming second section.

This "calming" section has the clarinet on quarter notes alter-

nating in the interval of a diminished third, accompanied by the piano

in contrary motion. Additional rhythm is added by the piano with repeated

A-flats off the beat:

 23

This motive is repeated three times, each time one-half step lower.

The next "theme" to be stated is that of a descending chromatic

scale in the clarinet part, accompanied by an ascending arpeggio pattern

by the piano. This is preceded by a trill by the clarinet. Saint-Sae·ns

used the chromatic technique in other of his works, but in this one he

gives it a unique treatment. The scale lasts for seven beats, but on the

sixth beat a note is skipped, dropping the tonality one-half step.

!•:ji1 1 @eum1kn;i,nn:jj~
mt~
This chromatic scale theme is used four times in the movement,

each time starting on a different note. The second one starts on G, the

third on high D, and the last on high E.

After the second chromatic theme a short transition leads into a

series of triplet arpeggio patterns, which in turn lead into an expressive

 24

section marked appassionato, which reflects the opening motif of the

first movement:

The next section consists of rapid triplets in an arpeggio pattern

to be played fortissimo.

The "calming" section of alternating quarter notes in the interval

of the diminished third returns, this time starting one-half step higher

than when it was used before (page 23). It is stated twice, followed by

the third and fourth chromatic scale passages.

Broad arpeggios by the clarinet accompanied by block chords in

the piano open the next section of the movement. The piano momentarily

takes over the melodic line, then is joined by the clarinet in a melodic

theme which swells in volume, then drops back to a piano:

~ -
;,fr1tt:cc-r 1pgrw 1 ruu.rr 100 um
~
~!
Crt~. +' ,J,-,... .,,

This theme is developed for four measures and is ended by a

fortissimo scale passage to high A on the clarinet.

Completely new thematic material is introduced next with

ascending thirds stated by the piano and answered by the clarinet:

 25

~- - ., - ~.
-., .,.--
-" - ~

- - .- . . . ~
-
"'.
I - -
,.,-_ - d]..... ,0•<0 ._ Qtoco
~
~
..,.
.- -- .- .
~
-
- •
. .. . . .. -
--
-

,:; .
~
,_ -
-
~.

-
~ ~

• - ~ .
..,)
~
La -.- <~.- .
:;i ;t
-- -
This alternation of theme is carried on for eleven measures, when another

section of rapid activity in the clarinet appears. Scale passages and

arpeggios in the keys of A-major, and B diminished are accompanied once

again by the tremolos in the piano part.

For all practical purposes, the movement ends with a very soft

sustained A on the clarinet followed by a falling melodic line carrying

the tonality back to A-minor:

time signature, and a restatement of the themes from the "A" section of

the first movement in their entirety.

Conclusion

In this Sonata one will find many of the techniques which Saint-
 26

Saens used in many of his compositions, techniques which have been

mentioned in the analysis.

One also finds evidence of Saint-Sae.ns' melodic writing. It has

been said by several authorities (21 :234, 12:928, 16:300) that Saint-Sae.ns'

melodies lacked inspiration, development of ideas, and were superficial.

Most people will agree, however, that in the third movement of this

Sonata, though the melody is simply stated, it certainly moves the

emotions. And the melodic material in the second movement, in a classi-

cal style, can hardly be called uninspiring. The melodic idea of the

beginning of the first movement, with the tenutos and other implied

emphasis intended by the composer certainly has style, expression, and

character.

In musical form, Saint-Saens nearly always remained conservative.

The Sonata does deviate from tradition some in having the second move-

ment faster than the first, but the fast-fast-slow-fast movement structure

is close to that of a traditional sonata. The first movement uses a straight

ternary form, the third a binary form. The second section is a variation

of the ternary form. The fourth movement however is difficult to analyze.

This movement seems to be more concerned with displaying the virtuosity

of the soloist, but still with several melodic ideas included.

Although at times, a classical style is evident (as in the second

 27

movement) the Sonata is definitely Romantic. The melodies are more

"fluid" than light and dancing. The harmonies are more modern, with an

abundance of chromatics. The harmonic development is not classical by

any means; at times it is even difficult to determine the tonality. And

where one would expect the middle sections of movements to be in a

relative minor or a dominant key, Saint-Sae'ns uses either an unrelated

key or, as in the recapitulation of the first movement, a relative minor

of the dominant key.

Though the music of Saint-Saens may never be as popular, or

performed as often as that of other composers, this clarinet sonata has

already taken its place as one of the foremost compositions for clarinet.
 CHAPTER V

BIOGRAPHICAL DATA ON WOLFGANG AMADEUS MOZART

Wolfgang Amadeus Mozart (1759-1791), in his short life, composed

an abundance of music which remains with us today as standard musical

literature.

His father, Leopold, an excellent violinist, was responsible for

much of Wolfgang's musical training in his early years. The principles

of musical education which Leopold laid down for all of his pupils

undoubtedly had much to do with Wolfgang's success as a musician and

a composer.

Virtuosity for its own sake is frowned upon and the honest
orchestral player is preferred to the brilliant soloist. Further, the
musician must be a sound Christian (which may be translated into
modern terms as a man of good morals apart from any orthodoxy in
religious belief) and be possessed of a general acquaintance with
the other arts, so that he may play with intelligence. (1: 11)

In guiding his son's musical growth, Leopold was 11

somewhat like

a Victorian father of convention, guiding his footsteps with tender care,

but unwilling to allow them to make any independent explorations. 11

(1: 11)

However, Wolfgang was an obedient child and, as a matter of fact, the

problem was not to get him to learn, but to get him away from the piano

keyboard.
 29

It has been said that Leopold may have done an irreparable damage

by exploiting Wolfgang's musical abilities to such an extent and at such

an early age. This criticism is undoubtedly valid, in that the problems

Wolfgang had in a later age may possibly be the result of his earlier

successes.

In 1762, Wolfgang started out on a tour of Europe with his father

and sister, for by this time he was already quite accomplished as a pianist.

He was composing little pieces, which his father copied down in his

sister's exercise book. (1:10) They traveled to Vienna, Munich, Paris

and London. Wolfgang played for royalty for the most part and astonished

them with his piano and organ playing (though he had not studied organ),

and his ability to sight-read music by such well-known composers as J. C.

Bach and Handel. The tour lasted until 17 66, when they returned to

Salzburg.

This tour was not very successful to the Mozarts financially, but

the effect of experiencing the works of such great musicians as J. C. Bach

left an indelible mark on the boy. The now celebrated young musician

was kept very busy on his return to Salzburg with commissions from the

Archbishop and others.

In January 17 68, the Mozarts returned to Vienna, where Wolfgang

obtained a commission to write an opera, but Afflisio, the manager of the

 30

Opera, did not think it wise to produce the work of a twelve-year old boy,

and the project fell through. The Emperor Joseph, however, ordered 100

ducats (about $225) paid to Leopold as compensation, so the trip was not

a financial failure. Also, Wolfgang was asked to play at the house of Dr.

Anton Mesmer. He played Bastien und Bastienne, which is the earliest of

Mozart's dramatic works to retain its place in the modern theatre. (1: 14)

After returning to Salzburg for a year, Wolfgang and his father went

to Bologna, Italy where he was admitted to the Accademia Filamonica in

July of 1770, at the age of thirteen. The age requirement for admission to

the Accademia was eighteen, but this was waived for Mozart. (2:928) In

June of 1771 1 Wolfgang was appointed Concert-master at Bologna. He

served at this post for a while without compensation, then was paid a

small stipend of about $ 70 per year. The boy that had a few years earlier

enjoyed the admiration of royalty was now approaching virtual poverty.

It is at about this time (1773) that the letters from which we have

learned so much about Wolfgang's life, began to be written. In these

letters there were signs of "that keen dramatic sense, of that ability to

draw a character in a phrase, which was to place him in the front rank of

operatic composers. " (1: 15)

The Italian trip was not without some success, however. In Milan

he was commissioned to write a serious opera. In Bologna, Padre Martini,

 31

a forerunning Italian musician and Farinelli, the great singer, were deeply

impressed. In Rome, he wrote from memory after a single hearing the

famous Misere of Allegri, and also in Rome was given the Order of the

Golden Spur by the Pope. His opera, Mithridates, King of Pontus, was

popular with both singers and the public and was given twenty performances

during its first season. Though his father thought the boy was "made for

life, " Biancolli (1: 1 7) felt that:

Mithridates showed only that he had a facility for pouring music

into an existing mould. There was still no individual creative
imagination in his music.

A turning point in Mozart's life came with the production of his

opera Lucio Silla in 1771. This opera was not successful like Mithridates,

for several reasons. It had a poor libretto; Mozart had been out of touch

with Italy for a couple of years, having returned to Salzburg; and he was

no longer the endearing young boy who was able to astonish his audiences

by the mere fact of his composition. The failure of Lucio ruled out the

possibility of his turning into an Italian composer.

1773 was the beginning of one of Mozart's most creative periods.

He wrote the Q.minor Symphony (K. 183) and the Symphony in 6_ (K. 201),

"a sparkling composition which marks the beginning of Mozart's conversion

to the so-called galante stil, a 'courtly' style in which depth and solidity

tended to be sacrificed to brilliance of effect." (2:929)

 32

Traveling to Munich in 177 4, Mozart wrote another opera, La Finta

Giardiniera, which was a great success and he was again spoken of as a

"genius." He had hope for an appointment in Munich, but this did not

come about, so he returned again to Salzburg 1 where his father set him to

work playing the violin. Mozart, during this time, wrote his five violin

concertos, but he didn't really enjoy playing the violin himself. He

turned to the newly invented pianoforte instead.

Mozart composed a great deal in 177 6, including the Haffner

Serenade, but was quite unhappy with his situation in Salzburg. He was

given no recognition by the Archbishop, under whom he was employed.

Eventually he was given leave of his duties in Salzburg, and embarked on

a trip to Paris, hoping to get an appointment at Court there. The trip was

unfruitful, however, with the exception that he spent some time with a

favorite cousin and, in Mannheim, met his first real love, Aloysia Weber.

She eventually became a famous singer and didn't want to be married to

an unsuccessful composer, so Mozart finally returned again to Salzburg,

and accepted the post of organist at a salary of about $200 a year.

This was a miserable experience for Mozart and in 1781 he again

asked for a dismissal from his duties. This was to mark the end of

Mozart's activities in Salzburg, for as he wrote to his father; "No more

Salzburg for me! I hate the Archbishop almost to fury." (1: 24) Wolfgang
 33

eventually returned to Mannheim and married another of the Weber daughters,

Constanze, in 17 8 2.

This year, 1782, is another in which Mozart did a great deal of

composing. The influence of having met Joseph Haydn began at this

time, with the composing of the six Haydn Quartets K. 168-K. 173. (2:929)

"Haydn's was the most powerful single influence upon Mozart's develop-

ment as a composer." (1:18) The influence of Haydn renewed Mozart's

contact with German music and undoubtedly had a great deal to do with

his becoming a true "German" composer. Finally, in 1787, Mozart was

appointed chamber-musician and Court-composer at Vienna. This was

after he had written The Marriage of Figaro and Don Giovanni.

Wolfgang's father fell ill in 1787, and it is at this time that

Wolfgang's mature philosophy toward moral conduct and religion in the

widest sense became known. He felt that death was the ultimate friend

of mankind, was not to be feared, but something to which one would look

forward. The Magic Flute "contains in its fantastic pantomime his whole

philosophy of love and death." (1: 29)

In the next year (1788) Mozart began to suffer financially, partly

because of his personal philosophy, and partly because his wife was

such a poor manager of money. When his financial problems were at

their worst, he wrote in the space of two months his greatest works in the
 34

symphonic field: the three symphonies, in E-flat, G minor, and C major.

Don Giovanni was given in Vienna in May, but was not well received by

the public. This disillusioned Mozart, and his output of music decreased.

He still completed some of his finest piano concertos, but he didn't

write in the abundance that he had previously.

He was offered the position of Kapellmeister at Berlin in 1789, at

a salary of $3,000, but for some unknown reason, he refused. From that

time on, medical bills were added to his financial burden because of the

illnesses of his wife. He wrote Cosi Fan Tutte, but its presentation was

interrupted by the illness and death of the Emperor. In 1790, Mozart's

situation was desperate. He refused an offer to come to London. It is

possible that if he had gone to London his life would have been saved.

Haydn had gone to London and made a fortune. It is possible that had

Mozart gone, he also could have had financial success, and he and Haydn

could have accomplished a great deal there together. In this year,

however, he did produce music again with great speed, despite his

anxiety, undernourishment and strain. His two quintets in D major and

E-flat, and the piano concerto in B-flat were written during this time.

His last major composition came about in a rather unusual way.

As he was preparing to leave for Prague for the presentation of La clemenza

di Tito, which had been commissioned by the Emperor for the coronation
 35

festivities, Mozart was approached by a stranger, and asked to compose a

Requiem Mass. Mozart, who was quite ill by this time, grew to believe

that the stranger was a messenger of Death. He worked on the Requiem

until his death, giving directions to his pupil Sus smayer, who eventually

finished it.

The death of Mozart left the world without one of its greatest

composers, but his music, fortunately, began to finally become popular

after 1800.
 CHAPTER VI

INFLUENCES ON THE LIFE OF MOZART

As has already been stated in Chapter V, Mozart's musical

training began with his father as early as age three. This training by his

father was probably the most important influence on Mozart's early life,

of all the influences he was to have.

If Leopold had not recognized Wolfgang's creativeness as a

child, one could safely assume that his development might have taken a

completely different direction, or no direction at all. True, many

biographers have criticized Leopold for his exploitation of Wolfgang's

talents, but this was the expected thing in those days. If he had not, it

is possible that, as Davenport puts it: "Wolfgang would surely have been

a flash-in-the-pan, a brief blaze, destined to be extinguished by his own

weaknesses, of which he had many." (5:12)

Of course, Leopold's efforts had to be, and were, tempered with

patience and love. He could not, and did not, restrict the flow of ideas

which came to Wolfgang. This is not to say that he allowed Wolfgang to

utilize any and all ideas that he had, but guided him in choosing the

correct ones to use.

 37

Leopold carefully planned the first tour made by he and his two

children in 1762-63, so that Wolfgang would become known by the most

important people in hopes that in the future he would be appointed to an

important position. This is the basis for much of the criticism of Leopold.

At this time, the childbirth rate was quite high, with one child being born

each year to some families. Naturally the survival rate was quite low,

and when a child showed evidence of having some talent, it was natural

for the parents to exploit this talent, lest the child grow to be just

another citizen of the town. Leopold claimed that his exploitation of

Wolfgang was strictly a matter of thinking of the future, preparing his son

for a life of more than common servitude.

This guidance was eventually to be the cause of a strained

relationship between Wolfgang and his father. In 1777, Wolfgang and

his mother went on another tour on which he began to display some degree

of independence. This independence shows especially after 1781, when

the ties with the Archbishop of Salzburg were finally severed, and when

he became more or less independent of his father. His music after this

date shows an originality that had been lacking before.

In the tours that had been arranged by Leopold, Wolfgang was to

meet many people and visit many places that were to have a profound

influence on his music. Not the least of the people he met was Haydn.
 38

Mozart and Haydn first met in 1781. Their friendship became more

lasting in 1784, when Mozart had been invited to play at the residence of

Prince Nicholas Esterhazy. Haydn was present at the time. Mozart was

especially impressed with the great Haydn. Eric Blom states: "The younger

master had an almost reverential regard for the elder both as a man and as

a composer." (3: 128) Mozart dedicated a set of six string quartets to

Haydn, completing them in 1785. Haydn once said to Leopold: "Before

God and as an honest man, I tell you that your son is the greatest composer

known to me either in person or by name. He has taste and, what is more,

the most profound knowledge of composition." (11: 10)

Haydn was the most distinguished musician in Europe at the time.

"His work carried great weight; his judgement was the highest recognition

that Wolfgang could have received in that period." (11:10)

The influence seems to have been a two-way situation, each

master influencing the other. "Their reciprocal influences are so

inseparably entangled that a decision as to how much must be ascribed

to the one and how much to the other will always in the last resort depend

upon prejudice in favor of this master or that." (4:233) Both are well

known for their string quartets. Both had a period of about ten years

(1772-1782) when they wrote no string quartets, and when they returned

to this form, they wrote their best ones. The influence at this time was
 39

probably that of Haydn on Mozart because "it is not likely that a man of

nearly fifty should have even looked at quartets written by a boy of

seventeen, however great his genius, and quartets which are manifestly

immature." (4:235)

Another of the Haydn family seems to have had some influence on

the music of Mozart. Michael Haydn's orchestral style is clearly felt in

the divertimenti and serenades. The Salzburg church music practiced by

Michael Haydn is reflected in Mozart's church music of 1773. Chromat-

icism of the theme of the Andante grazioso of the Concertone for oboe,

two violins, 'cello and orchestra also shows the influence of Michael

Haydn. (11:247)

Mozart came under the influence of another great musical family,

the Bachs. Two Bach brothers, Johann Christian and Carl Phillip

Emmanuel seem to have influenced Mozart. Mozart's first concertos

show Johann Christian's style of writing not out of feeling, but in the

style demanded by the society in which he lived. The public wanted

music that amused it and dispelled tedium. Therefore Christian's music

was seldom in the minor mode, his melodies are graceful and refined, his

allegros are playful, his andantes reflect the pastoral dream that enchanted

the society, and in his prestos an impersonality, which expresses the

society for which he was writing, was expressed. "John Christian is a

 40

soulless Mozart, with the external qualities of grace and measure, but

without the deeper beauties which have made Mo~art live." (8:23)

Another of Christian's techniques which shows up in Mozart's earlier

concertos is that of having melodic passages and special solo themes

recur so regularly.

Carl Phillip Emmanuel Bach had a much earlier influence on

Mozart than did Johann Christian. It was in Mozart's early training that

his father used musical examples by C, P, E. Bach, the influence of

Germanic music came initially from Mozart's study of his music. It is

not that Leopold preferred Germanic composers to, say, Italian, but he

had to confine himself to composers for the clavier, which the Italians

had on the whole neglected. (4: 11)

C. P. E. Bach's influence is also shown in the first movements

of his quartets, which are invariably in the regular sonata form, which

had been evolved from the beginnings of C. P. E. Bach and the Mannheim

School. (4: 23 7)

Johann Sebastian Bach seems also to have exerted an indirect

influence on Mozart as shown in the latter's C Minor Mass. "With its

monumental grandeur and its decided leaning towards baroque polyphony

the work clearly reveals the tremendous influence of Bach and Handel,

whose works he was then studying." (11:371)

 41

One other famous musician deserves mention as having had an

influence on Mozart. George Frederick Handel's influence on Mozart

probably began in about 17 64 in London. Mozart had heard much of

Handel's music, and though his influence didn't show up much in Mozart's

music, "it would have been strange if the solidity of Handel's noble

workmanship had not made it's mark on his receptive young mind." (4: 24)

And in the Requiem, the theme is a traditional one which had been used

by Handel. Finally, the two subjects of the double fugue in the Requiem

are reminiscent of Handel's Messiah.

Mozart had joined the Freemasons in 1785, and one can possibly

detect an influence of this association. From the Masons, he developed

a profound love for mankind, though not for individuals. He became more

serious and more idealistic, and this began to show in his music. On the

death of two brother Masons, Mozart wrote the Masonic Funeral Music,

K. 477. His views on death as learned from the Masons are probably

responsible for the depth of feeling in this composition.

One cannot discuss influences on the life of Mozart without

mentioning the general travels that he made as influences in themselves,

notwithstanding the people he met on these travels. In 1770, during a

trip to Italy, Leopold saw to it that Wolfgang learned as much about

Italian music as possible. This training enabled Mozart to write opera

 42

in the Italian style, and later, to introduce a new era in musical drama by

the combination of his Italian equipment with the German Singspiel. (5:52)
 CHAPTER VII

TECHNIQUES USED IN CONCERTOS BY MOZART

Mozart can be considered the founder of the modern concerto

because he influenced the development of the concerto for many years.

Most composers wrote concertos in less number than other forms of

composition. That Mozart wrote more concertos than any other form of

music, with the exception of the symphony, has resulted in the fact that

his concertos have achieved greater prominence than those of other

composers. (8:13)

A discussion of styles and techniques used in Mozart's concertos

becomes immediately problematical because of the rapid development of

styles during his lifetime. One would think that his development could

be divided into three fairly definitive styles; his early styles, his

developmental styles, and his later style. While this is to some degree

true, one still finds there is no definite dividing line between the three

periods. Mozart, in his earlier period, used his contemporaries as

models, but he still produced a great deal of music which was entirely

individualistic. In his "mature" period, when his most individualistic

music was composed, one still finds numerous examples of influence of

other composers. However, if one is to attempt to define a "Mozartian"

 44

style, the later works would be most representative.

It is well known that Mozart's music was not popular to a very

great degree during his lifetime, and it was not until after 1800 that he

became what one could call "popular." A possible explanation for the

fact that his music began to achieve popularity so soon after his death is

given by Friedrich Blume: "One was the belief of the romantic poets and

writers of that period that they had found in his late works the unreal,

the other-worldly and daemonic which they themselves made their own

spheres." (11:21)

It was Mozart's melodic lines which seem to have opened the

door to the popularity of his music. These melodies were not highly

developed harmonically, but artistically they were highly elaborated.

They use a simple basic scheme of an eight-bar period (although with

many variations). This eight-bar period is divided into two four-bar

groups, each of which is usually divided into two two-bar groups. (11: 23)

Simple as Mozart's melodies were in structure, however, they

differed from the melodies of other composers in one important way. His

melodies were not intended to portray any particular meaning. Turner

compares Mozart's Marriage of Figaro with Rossini's Barber of Seville.

Rossini's melodies are of the type that you can "carry away with you and

hear them mentally on a penny whistle, a cornet, or any instrument you

 45

like. They are like bright threads in a commonplace piece of stuff which

you can pull out without compunction as there is no design to spoil."

But with Figaro, "there are no bright threads to pull out. There is no

melodic content as such. Take away a note of it and the whole is

completely disintegrated." (20:382)

Another point to note concerning Mozart's melodies is that they

are shaped to the "curve of the human voice, even when written for

instruments." (14:18) This seems to be in disagreement with Turner's

statement in the preceding paragraph. This is further illustrated by the

fact that so many of Mozart's melodies, like those of other 18th-century

composers, have been converted into popular tunes. The use of chromatic

lines is one technique which characterizes so many of Mozart's melodies.

In many cases this creates a somewhat "mournful air." (21: 102) The

dualism expressed by fortes and pianos was another technique which

Mozart was very fond of. (7:136)

The harmonic development used by Mozart was simple to say the

least. The best illustrations of this harmonic handling are to be found

in the slow movements of his concertos. For the most part, he uses the

tonic, dominant and the nearest relative keys. "As a rule, the two-bar

group shifts from one basic function to another; after two bars the dominant

is reached; after two more the tonic again; after six bars, perhaps the
 46

subdominant, or a parallel; after eight bars the dominant." (11: 24) Of

course, this is not a strict Mozart rule. In the Clarinet Concerto K. 622,

for example, the first statement of the two basic themes appears not to

use the subdominant at all, but makes use of the tonic, dominant, and at

one point, the super-tonic.

Concerning the forms used by Mozart, one finds that one general

scheme of the first movements of his concertos can be reduced to the

simple formula: four tuttis and three solos, with a big middle solo and a

cadenza after the third. However, Mozart subjected this scheme to

infinite variations. (11: 18) Hutchings (9: 4) states that "There is no such

work as a 'typical Mozart concerto'." He uses the piano Concerto in D•

minor as an example of the most representative of Mozart's works in his

later years. In this concerto, in the first movement, the following form

is to be found: (9 :4)

1. Orchestral prelude 76 bars

2. Piano with orchestra 94 bars
3. Orchestra alone 22 bars
4. Piano with orchestra 63 bars
5. Piano with orchestra 110 bars
6. Orchestra alone 33 bars, interrupted by cadenza

Hutchings further states that "every Mozart and Beethoven concerto shows

these six sections." (9:6)

Whatever the form of the first movements of Mozart's concertos,

 47

it is certain that he uses four basic principles in all of them: (7:15)

The principle of ritornello, whereby the orchestra alone plays

themes which are first heard in the prelude.

The principle of jig-saw. This refers to the handling of themes,

where in the prelude, theme B leads into theme C. Then in the solo

exposition, theme B leads not into theme C, but into another theme. Then

in the third section with orchestra alone, theme B leads into still another

different theme. Then finally, in the last ritornello, theme B again leads

into theme C. "Thus B is like one of the pieces of a jig-saw puzzle

which is capable of fitting into any one of three other jigs; and if one end

of B fits the other end of three different themes, then at least two of those

themes have an 'open end'." (9: 7)

The principle of varied order, whereby the first ritornello and the

middle section do not necessarily start with a statement of the first

theme, as one would expect.

The principle of equality of status between orchestra and soloist,

whereby both orchestra and soloist share in important parts to play. "The

accompaniment supports ideally, but also irresistibly demands support in

exchange." (4:216)

In the second or slow movements of Mozart's concertos, one finds

the true genius of his melodic handling and the simplicity of his harmonic
 48

treatment. They are always in a key closely related to that of the opening

and closing movements. (7:159) There seems to be some controversy

about what type of musical form is found in these slow movements. Eric

Blom (4:215) describes the slow movements of Mozart's concertos as

"arias, sometimes very operatic arias, transferred to an instrumental

medium with an unfailing ear for the compensations required to make the

metamorphosis acceptable. " This is only partly true, for as Hutchings

points out, of the piano concertos only six of the twenty-three slow

movements can be called arias. The others are sonatas, dialogues,

ternaries, variations, rondos, or romanzas. (9: 16-17)

Concerning the finale movements of Mozart's concertos, they

were either sonata movements, or rondos, or occasionally sets of

variations, all of them "more lavishly spread than the corresponding

movements in a solo sonata." (4 :215) He is able to show solemnity as

well as hilarity in these finale movements. As Hutchings points out

though, hilariousness does not mean carelessness, and seriousness or

solemnity is not a prerequisite of greatness. "If to be hilarious is to be

careless in workmanship, then Haydn never wrote a fine symphony." (9: 20)

The form of the finales is usually quite well organized, often with

a simple A-B-A structure. He often used the "jig-saw" technique

mentioned on page 4 7. Another practice was to develop, in the middle

 49

of his rondo, elements taken from the refrain and from the orchestral

strophe which follows the refrain.

He is thus able to make an interesting transition to the point of

recapitulation so that, despite the absence of the broad architecture
of sonata form, an architecture based on its key relationships, the
Mozartian rondo much resembles first-movement form. (9: 21)

Mozart had a unique ability toward unity of his movements. His

father, Leopold, called this unity 11. filo, the "thread," the succession

and connection of ideas. (7: 140) This unity is interesting when one

remembers that much of Mozart's music was written "in his mind" before

putting anything down on paper. He did compose his concertos with a

definite method. The unfinished sketches that he left show that he first

wrote the solo parts, sometimes with the bass. Then came the orchestral

tuttis and bridge passages, and the more finished elaboration. It wasn't

until the last that he wrote the notation of the full accompaniment. (11: 209)

It is generally true that the later the work, the simpler the form.

"Mozart had so consummate an ability to fuse form and content that his

movements are apprehended only as miracles of concise formulation."

(11: 29) He was a traditionalist in that he never deviated from the

traditional forms for composition. Einstein says: "An aria is an aria, a

sonata is a sonata, a sonata movement has its definite law which Mozart

would never break." (7:141)

 50

All of Mozart's concertos were written for a definite purpose, not

as a result of mood or inspiration. He wrote them by demand or for an

opportunity to have a work performed, for someone's need of friendly

assistance, or for a paid commission.

 CHAPTER VIII

ANALYSIS OF CONCERTO FOR CIARINET, K. 622-W. A. MOZART

Mozart's clarinet Concerto was composed in a two-week period

between September 28th and October 7th, 1791. It was composed for his

friend, Stadler, who was an accomplished clarinetist. Mozart had earlier

composed the clarinet quintet for the same man.

The first movement is believed to have been taken from a draft of

an Allegro for Basset-horn, probably written in 1789. (K. 584b) Dazely

(6: 166) believes that the remainder of the Concerto was written for the

Basset-horn, but has been adapted for the higher range of the clarinet.

The Basset-horn had a range to low C, a major third below the range of

the present-day clarinet.

To illustrate his belief, Dazely points out several places where

adaptations have been made, adaptations which Mozart would not be

likely to have made. In the third movement, he claims that some of the

sixteenth-note passages have been raised an octave from what Mozart

intended for the Basset-horn. In the first movement, near the end of the

recapitulation section, the rolling arpeggio was intended to be played in

three octaves, but since the modern clarinet cannot play the third octave

down, the figure had to be repeated in the same octave. (11:207-208)

 52

In the revision of the Basset-horn composition (K. 584b) Mozart

added Bassoons, and the Clarinet Concerto now is written for an orchestra

of two flutes, two bassoons, two French horns in A, first and second

violins, viola, violincello, and bass, besides the clarinet solo.

First Movement

Marked Allegro, the first movement begins with an orchestral

prelude of fifty-six bars in which the main themes of the first movement

are introduced.

It is interesting to note that in the original arrangement of the

concerto, the clarinet is to play along with the orchestra throughout the

prelude, and in the other places in the concerto where the orchestra has

the main parts. In the piano transcription, the clarinet does not play in

these places. The clarinet, while playing with the piano, sounds like a

solo instrument. The fullness of the orchestra, however, absorbs much

of the sound of the clarinet.

The first theme is stated by the clarinet after the orchestral

prelude. This theme follows the pattern of construction used by Mozart

with many of his melodies. The first phrase is composed of two two-

measure groups:
 53

This is joined by another four-measure phrase, also composed of two two-

measure groups, to complete the first theme.

~~ ffiiFQ 1Qi?
p:>
1tli&ii?r
fT .:::. ---= -=-===--
o ~l
1 ETE.
After this first statement of the 11
A theme, the orchestra, specifi-
11

cally the strings, restates the first phrase of the A theme while the 11 11

clarinet accompanies with a soft, rapid scale passage. The clarinet and

orchestra continue a development section for another nine measures,

leading to the introduction of the 11

B theme.
11

The 11
8 11
theme offers a contrast to the 11
A theme by the smoothness
11

of the melodic line:

The theme continues with another eight-measure phrase which

modulates from the key of E-flat to the key of G. A six-measure transition

in which the clarinet accompanies the orchestral treatment of melodic

ideas leads to the statement of the 11

C 11
theme:
 54

This third theme is developed for ten measures where a second phrase of

only two measures is stated:

Another short development section leads to the end of the third theme

statement.

Mozart concludes the exposition of this movement with a short

development section. The "A" theme is partially stated first by the

orchestra, then by the clarinet. Then the clarinet enters into a display

of virtuosity by way of scale and arpeggio passages. The orchestra

finally concludes the exposition by restating the material from the opening

prelude.

The development section of this movement is quite short when

compared to the development sections in many other concertos. Having

developed the themes in the exposition, a longer development section is

unnecessary.
 55

After stating a melodic line derived from the 11

A theme,
11

~ ~~ ~

f~ra1orttr1ttatto1~ 1~ ~
9 > ~ ::::=:-
'(> e:::: -=::=-
the soloist goes into a series of scale passages which lead into a rather

emotional descending arpeggio, syncopated and emphasized by the

11
orchestra with short chords on the beat. The second phrase of the 8 11

theme is stated and developed. The orchestra then concludes the develop-

ment section by way of more rapid scale passages.

In the recapitulation section, the 11

A theme is stated exactly as
11

11
it was in the beginning of the expos it ion. The B theme, however, is
11

altered somewhat. The 11

C 11
theme is stated in the key of C, where in the

exposition it was in the key of G.

After a twenty-four measure development of the 11

C 11
theme, a
11
melodic line taken from the A theme is stated.
11
This statement begins

in a fugal style, being started by the clarinet on the first beat of the

measure, then by the second violins and violas on the third beat, and

finally by the first violins on the first beat of the following measure. This

theme leads into a lengthy display of virtuosity by the clarinet. The

movement ends with a restatement of some of the material from the prelude

by the orchestra.
 56

Second Movement

In the second movement, Mozart's ability to write a beautiful

melodic line is aptly shown. The movement is very slow, marked Adagio,

and again the technique of sharing melodic material between the soloist

and the orchestra is used throughout.

Three melodic themes are used in this movement. The first theme

is again constructed of two four-measure phrases, each phrase containing

two two-measure groups:

~ ~ ~ +---.. ~

$~ s11ttr~ 1rW1t:tig1r'frf
f' 0 c:• -==
1rlt121rtr1n
>
After the solo statement of this theme, the orchestra restates it exactly.

The "B" theme, with the same construction as the "A" theme, is

stated by the clarinet and repeated by the orchestra.

A third theme is then stated by the clarinet, but rather than being

restated by the orchestra as the first two themes were, is developed by

 57

This development, for nineteen measures, consists of smooth, flowing

scales and arpeggios, all artfully enhancing the melodic material.

The "A" and "B" themes are then restated by the soloist exactly

as before, and the "B" theme is repeated by the orchestra. A development

section by the soloists concludes the second movement.

Third Movement

The third movement is a Rondo movement marked Allegro. In this

movement, five different themes are thoroughly developed. The "A"

theme is again similar in form to the themes from the second movement

and with the "A" theme of the first movement. Two four-measure phrases

.. ..
, ~ ....... -

Following this thematic statement, the orchestra provides an

eight-measure transition leading into the first of several development

sections by the soloist. The virtuosity of the soloist is displayed

through scale and arpeggio passages which lead to a restatement of the

"A" theme. After the restatement of the "A" theme, a transition by the
 58

orchestra, by way of more scale passages, leads to the first statement of

the "B" theme.

The "B" theme is only four measures in length,

and is followed by a transition during which the orchestra plays short

melodic fragments, while the soloist again plays accompanying scale

passages.

The third theme returns to the construction used with the "A"

The first phrase of this theme is then stated an octave lower, but the

second phrase is altered to lead into the statement of the "D" theme.

l
I
A different treatment of this theme is used. It is first stated by

the first violin, then restated an octave lower, joined by the flutes,
 59

while the clarinet plays an accompanying counter-melody:

c
1
• l~i Vf-==-'31f:::::-;tfffl
p ..-.:::::.. ~
JfiJ $
: : : . -:::::::.. --=::::
~ I+
fP l
~

The clarinet then states just the first measure of the theme before going

into a lengthy section of rapid scales. After this section of development,

the soloist restates the 11

A theme exactly.
11
The orchestra provides a

transition to lead to the statement of the last theme.

This fifth theme is the only one in the minor mode in this move-

'i ~ 1frpiif ~ 1J?ID 1@l1tt;'PI

ment, and is again constructed of two four-measure phrases: .

The first phrase of this theme is repeated an octave lower and the theme

is developed and leads to another section of rapid scales. During this

11
development a fragment of the A theme is played alternately by the
11

strings and the clarinet. The 11

C 11
theme is stated in its entirety, and a
11
melodic idea from the first measure of the C 11
theme is stated fugally by

the strings and the clarinet.

Developmental scale passages, with occasional statement of the

11 11
11
D theme, lead to another complete statement of the
11
A theme. This is
 60

the beginning of a recapitulation section with the same material being

stated by the solo and the orchestra as was stated at the beginning of the
11
movement. The recapitulation contains exact restatements of the A and 11

11
8 11
themes and of the orchestral transitions. A Coda consisting of rapid
11
scale and arpeggio passages, and a final statement of the A theme 11

bring the concerto to an end.

Harmonic Development

The first movement begins in the key of A major and remains in

that key until the first statement of the 11

B theme. At the entrance of
11

the 11
8 theme, the tonality changes to the key of C, modulates through
11

the key of B, and at the entrance of the 11

C 11
theme, goes into the key of

E. E major remains the tonality as the A theme returns and the

11 11

exposition ends in that key.

The development section continues the E major tonality, but with

the restatement of the second phrase of the 11

B theme, changes to the
11

key of D. Another modulation through the keys of C-sharp, B, and F-

sharp finally leads to a return of the E major tonality, The 11

A theme
11

then returns in the key of A major, and the harmonic development

continues as it was throughout the exposition.

The second movement is in the subdominant key of D major

throughout.
 61

In the third movement, the key of A major returns. This tonality

remains until the statement of the 11

C 11
theme, which is in the dominant

key of E major. Upon the restatement of the A theme, the A major 11 11

tonality returns, then a modulation through the key of F-sharp leads to

the fifth theme in the key of F-sharp minor.

After the fifth theme has been stated, the tonality goes to D
11
major. When the C 11 theme is re-introduced, the key of A major returns,

but modulates through the keys of C, B, E, and back to A, in which it

remains to the end of the concerto.

Form

The first movement is in a traditional sonata form, but with an

unusual thematic treatment. The exposition introduces the three themes,

but there is no complete restatement of the A theme at any time. 11 11

In

the development section, the 11

C 11
theme is not stated at all, having been

developed at the end of the exposition. The recapitulation is a restate-

ment of the exposition with some alteration of the 11

B theme and a change
11

of key of the 11
C 11
theme.

The second movement is in a modified ternary form, with the A 11 11

and 11
B themes each stated twice, then the
11 11
C 11
theme stated once. The
11
A theme is again stated twice and the
11 11
B theme is stated once and
11

developed.
 62

In the third movement, the traditional rondo form is not followed,

but is varied somewhat. There is no definite A-B-A-C-A form, although

11 11 11
there are several returns to the A theme. 11 11
The 8, 11
C, and 11
D 11

11 11
themes are played in succession before a restatement of the A theme.

The 11
8 11
and 11
E themes are given only once in the movement.
11
 CHAPTER IX

CONCLUSIONS

This paper has represented an effort by the writer to learn

something about two major clarinet compositions and about their

composers, and to provide for the readers of this paper a means of

better understanding Wolfgang Mozart and Camille Saint-Sae;ns and

their clarinet compositions. The study of these compositions has been

in connection with the preparation for their performance in a Graduate

Recital by the writer. The two composers studied in this project

represent two periods of music history 1 two different styles of

composition and two different personalities.

Mozart was a classical composer in the true sense of the word,

whose music reflects at all times the classical style. The form of his

music is traditionally classical as is his harmonic treatment.

In the study and preparation for performance of the Clarinet

Concerto, K. 622, the writer learned that this style of music requires

many techniques which are different from those required with compo-

sitions of other periods of music history. In Mozart's compositions a

type of "block" treatment of dynamics is used. There are sections of

 64

dynamic contrast within the compositions, but the performer must take

care not to overdo the dynamic contrasts within a particular melodic line.

The use of crescendos and diminuendos is determined only by the

natural flow of the melodic line. Where the melodic line approaches a

climactic point, the necessity of breath support often demands an

increase of dynamic level. Seldom, however, should the performer make

a definite conscious attempt to change dynamic level solely for the sake

of dynamic variety. Clarity is the key to Mozart's style. Every note,

every melody or contrapuntal line is important in a continuous flow of

sound. However, dynamic contrasts as indicated by the composer,

should be followed diligently.

In the faster first and third movements of the concerto, a light

style of performance is required. The performer, however, must guard

against a jerky, rough style. Articulations are to be light and separated

much of the time, but the separation must be a result of the articulation,

and not a result of a conscious effort to separate. In the Adagio move-

ment the melodic lines must be played as if one was singing them.

Again, however, care must be taken not to make them sound too romantic.

The performer must not decrease the support of the ends of the phrases,

but must continue to support them to the very end. The tempos in
 65

Mozart's concerto are to be tastefully chosen and carefully observed but

on the other hand the performance must not be allowed to seem rigid by

too strict adherence to note values.

If one considers the period of history in which Mozart wrote, a

better understanding of the desired performance techniques should

result. In the early period of Mozart's life, he composed primarily for

the royalty, but by the time he wrote the Clarinet Concerto, his compo-

sitions were for the general public rather than for royalty. In this

period music was enjoyed for its musical qualities rather than for the

ability of the music to evoke a particular emotional feeling. This is

not to say that Mozart's music is void of emotional expression, for the

second movement of the concerto, with its song-like themes, certainly

is emotional. The emotion-producing aspects of the music are, however,

secondary to the purely musical qualities.

Camille Saint-Saens' music shows a completely different style

0

from that of Mozart. Essentially a romantic composer, Saint-Sae ns was

more influenced by the emotions. His music is more fluid and flowing,

and the flexibility of rhythm, harmonic development and expression is

evident.

Saint-Saens wrote at a time when composers were attempting to

break away from the traditional styles of composition and to develop a

 66

truly French style of music. Saint-Sae'ns did not break from tradition to

the extent that his contemporaries did, but one still notices a lack of

classical style in most of his music.

The romantic style of melodic handling becomes evident with the

..
first statement of the theme of the first movement of Saint-Saens' Sonata

for Clarinet, op. 167. The indicated tenutos, and the natural

expressiveness with which this melody is to be played, indicate the

romantic style to the utmost. In this first movement, and throughout the

Sonata, the virtuosity of the soloist is not exploited to the extent that

it is in Mozart's Clarinet Concerto. Although there are sections where

the soloist is called upon to display his skill on the instrument through

rapid passages, for the most part the melodic content is more important.

The harmonic development also indicates a definite contrast between

the Romantic and Classical periods. Saint-Saens uses much more

chromaticism and the harmonic progression is not as predictable as in

the music of Mozart.

The second movement of the Sonata indicates a somewhat

classical style in that it is light and dance-like, but again the romantic

style is evident by the harmonic treatment, by the expressiveness of

the melodic line, and by the extensive use of chromaticism. In the

slow third movement, the two sections are marked forte sempre and
 67

pianissimo sempre, respectively, which means that the first section is to

be played forte throughout and the second section pianissimo throughout.

To be properly played in the romantic style, however, the performer must

make dynamic contrasts within the melodic line as demanded by the

climaxes indicated. The composer does indicate a few places where

cre~cendos and diminuendos should be observed, and indicates that at

the end of the movement, the last phrase should be played as softly as

possible. The performer must still interpret this movement by including

crescendos and diminuendos where demanded by the melodic line.

The fourth movement of the Sonata gives the soloist more oppor-

tunity to display his virtuosity, but the romantic melodies still remain.

At one place, the composer has indicated that the phrase is to be played

appassionato, and has indicated certain notes that must be especially

stressed to bring out the emotional aspects of the melody.

The music of Saint-Saens' time was written solely for the enjoy-

ment of the general public. The composers were not employed by

royalty as was Mozart in his earlier years. The public wanted music

that would help them to forget the troubles of the world, and this is the

type of music that Saint-Saens wrote. He enjoyed things of beauty and

his music reflects this. He was moved by emotions such as love and

death, and his music at times shows this influence. Yet, he always
 68

held a reverence for the past. He always tried, even in his most

revolutionary compositions, to develop original ideas on the foundation

of established authority.

Both of the compositions dealt with in this project have taught

this writer much about Mozart and Saint-Saens as persons as well as

styles of the Classical and Romantic musical periods and techniques to

be used in the performance of music from these periods.

 BIBLIOGRAPHY

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2. Blom, Eric (ed.). Groves Dictionary of Music and Musicians.

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Edition. Volume VII. New York: St. Martin's Press, 1960

4. . Mozart. New York: E. P. Dutton and Company, Inc.,

1935

5. Davenport, Marcia. Mozart. New York: Charles Scribner's

Sons, 1932

6. Dazely, George. "The Original Text of Mozart's Clarinet

Concerto," Musical Review, 9: 166-167, 1948

7. Einstein, Alfred. Mozart, His Character, His Work. New York:

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12. Lang, Paul Henry. Music in Western Civilization. New York:

W. W. Norton and Company, Inc., 1941

13. Lyle, Watson. Camille Saint-Saens, His Life and Art. New York:
E. P. Dutton and Company, 1923
 70

14. Machlis, Joseph. Introduction to Contemporary Music. New York:

W. W. Norton and Company, 1961

15. Mozart, W. A., Concerto, fi Major. Miniature Score. Edited by

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16. Portnoy, Julius. Music in the Life of Man. New York: Holt,
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17. Sacher, Jack (ed.). Music fJ:. to~. New York: Grosset and
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18. Saint-Sae'ns, Camille. Musical Memories. London: John Murray,

1921

19. Stringham, Edwin John. Listening to Music Creatively. Second

Edition. Englewood Cliffs, N. J.: Prentice Hall, Inc. , 1959

20. Turner, W. J. Mozart, the Man and His Works. New York: Tudor
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21. Ulrich, Homer. Symphonic Music, Its Evolution Since the

Renaissance. New York: Oxford University Press, 1952