TL;DR: Mozart’s Clarinet Concerto in A major, K. 622, was finished in October 1791, weeks before the composer’s death, for his friend Anton Stadler. It was written for the basset clarinet, an A clarinet extended down to a written low C, and it survives only in an 1801 edition adapted for the ordinary clarinet. It has three movements (Allegro, Adagio, Rondo: Allegro), runs roughly half an hour, and is widely considered the most important piece in the clarinet repertoire: a standard for recitals, competitions, and orchestral auditions. Playing it well is less about speed than about singing legato, an even low register, light articulation, and a setup that lets you play softly with control.
The Mozart Clarinet Concerto is the piece students aspire to, the piece professionals keep relearning, and the piece audition panels use to hear, in a few minutes, almost everything about a player’s sound.
It also has an unusual history: the instrument Mozart wrote for fell out of use, his manuscript is lost, and the version most of us learned is a later adaptation. This guide covers where the concerto came from, how each movement works, how to practice it, which recordings to study, and how to set up your clarinet for it.
Table of Contents
- Mozart Clarinet Concerto at a glance
- Mozart, Stadler, and the basset clarinet
- Basset clarinet vs A clarinet: which version should you play?
- A movement-by-movement guide
- How to practice the Mozart Clarinet Concerto
- The right setup for Mozart: mouthpiece, reed, and barrel
- Recordings to study
- Key Takeaways
- FAQ
- Find a setup that sings in Mozart
Mozart Clarinet Concerto at a glance
Here are the basic facts that program notes, teachers, and juries assume you know.
| Detail | Mozart Clarinet Concerto |
|---|---|
| Catalog number | K. 622 |
| Key | A major (written for clarinet in A) |
| Completed | October 1791, about two months before Mozart died on December 5, 1791 |
| Written for | Anton Stadler (1753–1812), Viennese clarinet and basset horn virtuoso |
| First performance | Probably October 16, 1791, in Prague, with Stadler as soloist (the date is not certain) |
| Original instrument | Basset clarinet in A, extended down to a written low C |
| Movements | I. Allegro (A major), II. Adagio (D major), III. Rondo: Allegro (A major) |
| Orchestra | 2 flutes, 2 bassoons, 2 horns, and strings |
| Length | Roughly 28–30 minutes |
| Manuscript | Lost; first published in 1801 with the solo part adapted for the standard clarinet |
Mozart, Stadler, and the basset clarinet
Anton Stadler was a close friend of Mozart and one of the finest wind players in Vienna. He was famous for a soft, vocal sound and for his playing in the low register, and Mozart wrote his greatest clarinet music with Stadler in mind: the “Kegelstatt” Trio, K. 498, the Clarinet Quintet, K. 581 (1789), obbligato parts in the opera La clemenza di Tito, and finally the concerto.
Stadler’s specialty was an instrument built for him. Around 1788, the Viennese court instrument maker Theodor Lotz made a clarinet with an extended lower joint that added notes below the clarinet’s normal written low E, reaching down to a written low C. Today we call it the basset clarinet. (Stadler later claimed the invention for himself.) It is related to the basset horn, which Mozart also loved; our guide to what a basset horn is explains the family resemblance.
The concerto has roots in that basset horn. Mozart had earlier sketched about 199 bars of a first movement for basset horn, and that sketch is very close to the opening of the finished concerto. In the fall of 1791 he reworked it for Stadler’s basset clarinet in A, completing the concerto alongside The Magic Flute and La clemenza di Tito. It is his last completed instrumental work.
Then the original disappeared. The autograph manuscript is lost, and one widely repeated account says Stadler pawned it after Mozart’s death. When the concerto was finally published in 1801, the publishers rewrote the low passages so they could be played on the ordinary A clarinet. That adapted version is the one on most students’ music stands today.
Basset clarinet vs A clarinet: which version should you play?
Because the original is lost, every “basset” version of the solo part is a scholarly reconstruction based on the 1801 edition, the surviving sketch, and the passages where the published part makes awkward octave jumps that only make sense if the original went lower. Many modern editions print both versions, and many soloists now perform on reproduction basset clarinets.
| Question | Standard A clarinet version | Basset clarinet version |
|---|---|---|
| Lowest written note | Low E | Low C |
| Source | Adapted solo part from the 1801 first edition | Modern reconstruction of what Mozart likely wrote |
| Instrument needed | Any A clarinet | A basset clarinet, which few players own |
| What changes | Some low arpeggios and leaps are moved up an octave | Lines run down into the basset notes as originally conceived |
| Where you hear it | Auditions, juries, school and community concerts | Many professional solo performances and recordings |
| Best for | Students, audition candidates, most performers | Specialists and curious listeners |
For almost everyone, the answer is simple: learn the standard version on the A clarinet, which is what audition lists expect, and listen to basset recordings to hear where the published part was altered. If the A clarinet is new to you, our article on why the clarinet is in B♭ explains how A and B♭ transposition work.
Pro Tip: Mark the spots in your part where the 1801 edition jumps up an octave to avoid a basset note. Even on a normal A clarinet, knowing that the line “wants” to go down helps you shape the phrase, so the leap sounds like a choice instead of an accident.
A movement-by-movement guide
I. Allegro
The first movement is in sonata form with a long orchestral introduction before the clarinet enters. It is the movement audition panels ask for most, usually the opening solo through the end of the exposition. Its challenges are about control more than speed: wide leaps between registers, scales and arpeggios that must stay even, and a consistent low register.
II. Adagio
The Adagio, in D major and in a simple three-part form, is one of the most famous slow movements Mozart wrote. Many listeners know it from the film Out of Africa (1985). Its difficulty is exposure. The opening melody is slow, quiet, and sits in the warm middle of the instrument, so every unevenness in tone, every bump over the break, and every pitch sag at the end of a phrase is audible.
III. Rondo: Allegro
The finale is a rondo built on a playful, dancing theme in 6/8. It asks for the lightest articulation in the piece, quick register changes, and good humor. The danger is heaviness: if the staccato is too long or the tone too spread, the movement stops dancing.
| Movement | Character | Main technical demand | Common pitfall |
|---|---|---|---|
| I. Allegro | Noble, lyrical, operatic | Register leaps and even scales and arpeggios | Rushing passagework; tone thinning in the low register |
| II. Adagio | Calm, intimate, singing | Soft legato and long, steady phrases | Pitch sagging at phrase endings; bumps over the break |
| III. Rondo: Allegro | Light, witty, dance-like | Short, clean articulation in 6/8 | Heavy staccato; a theme that sounds the same every time |
How to practice the Mozart Clarinet Concerto
Mozart rewards slow, thoughtful practice. These habits help at every level:
- Sing it first. If your phrase shape on the clarinet is less convincing than your voice, the problem is musical, not technical.
- Practice the leaps as long tones. Take the widest intervals in the Allegro and slur them slowly, matching the tone color of the low note to the high note. Our guide to clarinet registers explains why the chalumeau, throat, and clarion notes each need different attention.
- Use rhythms on the runs. Practice scale and arpeggio passages in dotted rhythms and in groups, then return to even notes at a slow tempo. Evenness is the goal, not speed.
- Keep the Rondo staccato short and light. Work the theme at a slow tempo with a metronome, focusing on a clean release rather than a hard attack. Our clarinet articulation guide covers tongue placement and release.
- Record yourself. Listen back for pitch at phrase endings and evenness across the break.
If you are preparing the first movement for an audition, combine this with the strategies in how to prep for clarinet auditions.
The right setup for Mozart: mouthpiece, reed, and barrel
Mozart does not need a special mouthpiece, but it is unforgiving of a setup that fights you. The qualities that matter most are:
- Soft-dynamic control. You should be able to start a quiet note in the middle register cleanly, without a bump or delay.
- An even scale across the break. Throat tones and the first clarion notes should match the color around them.
- A centered low register that stays focused at piano and does not spread at forte.
- Quick, light response for the Rondo’s articulation.
Many classical players find these qualities in a closed-to-medium tip opening paired with a reed of moderate strength. A very open mouthpiece can give a big sound but makes soft entrances and pitch control harder; a very closed one with a reed that is too hard can make the Rondo feel stiff. The best balance depends on your embouchure and air, which is why it is worth testing rather than guessing. Our clarinet reed strength chart explains how to match reed strength to tip opening.
Two practical points are specific to this piece. First, the concerto is played on the A clarinet, so check your setup on that instrument, not only on your B♭. Most players use the same mouthpiece on both clarinets, so a mouthpiece that works beautifully on B♭ but feels resistant or out of tune on A is worth noticing. Second, A clarinets often have their own tuning tendencies, and a barrel of a slightly different length can steady the pitch, especially in long, soft Adagio phrases.
Pro Tip: When testing mouthpieces for Mozart, use the opening of the Adagio as your test passage. Play it at your softest comfortable dynamic and listen for three things: a clean start, an even sound as the melody moves across the break, and pitch that holds steady at the end of the phrase. Whichever mouthpiece makes that easiest is usually the one that will serve the whole concerto.
Mozart wrote for a Viennese player, and the warm, vocal ideal of the Viennese clarinet tradition is a helpful reference, even on a Boehm instrument.
Recordings to study
Listening widely shows how much interpretive freedom the piece allows. A few recordings clarinetists return to:
- Jack Brymer with Sir Thomas Beecham and the Royal Philharmonic Orchestra (1960): a classic standard-clarinet reading, warm and unhurried.
- Benny Goodman with Charles Munch and the Boston Symphony Orchestra (1957): the jazz legend’s take on the classical repertoire, worth hearing for its clarity and directness.
- Sabine Meyer with Claudio Abbado and the Berlin Philharmonic: a modern performance with a polished, singing sound.
- Thea King and Martin Fröst on basset clarinet: two ways to hear the low passages the way Mozart likely intended.
- Hans-Rudolf Stalder (1968): widely cited as the first recording on basset clarinet, of historical interest for anyone curious about the reconstruction.
For more listening across the repertoire, see our list of 12 iconic clarinet recordings and our guide to iconic clarinet solos every player should know.
Key Takeaways
| Point | Details |
|---|---|
| Mozart’s last instrumental work | K. 622 in A major, completed in October 1791 for Anton Stadler, about two months before Mozart’s death. |
| Written for the basset clarinet | An A clarinet extended down to a written low C, built around 1788 by Theodor Lotz. |
| The original is lost | The 1801 first edition adapted the solo part for the ordinary A clarinet; basset versions are modern reconstructions. |
| Three contrasting movements | A lyrical Allegro, a singing Adagio in D major, and a light, dancing Rondo in 6/8. |
| Control matters more than speed | Even registers, soft legato, stable pitch at phrase endings, and light articulation are the real tests. |
| Set up on the A clarinet | Choose a mouthpiece, reed, and barrel that make soft playing easy, and test them on the instrument you will perform on. |
FAQ
Is the Mozart Clarinet Concerto hard to play?
It is not the most technically demanding concerto in the repertoire, and advanced high school players often study it. What makes it hard is exposure: tone, intonation, and phrasing are on display at all times.
Can I play the Mozart Clarinet Concerto on a B♭ clarinet?
Transposed B♭ parts exist, and they can be useful for students who do not yet own an A clarinet. For auditions, competitions, and performances with orchestra, the A clarinet is expected, since it is the key Mozart wrote in and the orchestral parts are in A major.
What is the difference between the basset clarinet and the regular clarinet?
A basset clarinet has a longer lower joint and extra keys that extend its range down a major third, from written low E to written low C. Mozart’s concerto and quintet were written for it, but the instrument fell out of use, and modern basset clarinets are mostly made for performing this repertoire.
Which movement of the Mozart Clarinet Concerto is used in auditions?
The first movement, usually from the clarinet’s first entrance through the end of the exposition. Some panels also ask for part of the Adagio to hear soft, sustained playing.
What mouthpiece should I use for the Mozart Clarinet Concerto?
There is no single correct choice, but many classical players prefer a closed-to-medium tip opening that makes soft entrances, even legato, and stable pitch easy. Test candidates on your A clarinet using the Adagio’s opening phrase, and choose the one that gives you the most control at quiet dynamics.
Find a setup that sings in Mozart
The Mozart Clarinet Concerto shows exactly how well your setup supports soft playing, legato, and pitch. If you are preparing it, testing a few mouthpieces with the Adagio is time well spent.
Gleichweit’s Test Boxes make that easy at home. The Closed-Tip Mouthpiece Test Box (1.04–1.20 mm) suits players looking for maximum center and control, the Medium-Tip Mouthpiece Test Box (1.17–1.24 mm) covers the balanced middle ground many classical players prefer, the Open-Tip Mouthpiece Test Box (1.27–1.40 mm) is for players who want more freedom, and the Variety Mouthpiece Test Box (1.16–1.40 mm) is the place to start if you are not sure. Each box holds five mouthpieces for seven days for a $40 test fee, so you can compare them on both your B♭ and A clarinets in your own practice room.
If you already know what you like, popular starting points include the closed-tip B7-4 (1.16 mm) and the medium-tip B8-4 (1.20 mm). For pitch and focus on your A clarinet, the Gleichweit B3 barrel fits standard Boehm B♭ and A clarinets and comes in half-millimeter lengths.
Mozart wrote this music for a player whose sound he loved. Find the setup that lets your own sound sing.