Annotated Working Bibliography

January 11th, 2017 by
Abraham, Gerald [and others]. “Mozart Companion.” London: Rockliff Publishing Corporation, 1956.
U of L Music Library ML 410 .M9L24 1956a
Adelson, Robert. “New perspectives on performing Mozart’s clarinet concerto.” The Clarinet 25:2 (February-March 1998), 50-55.
U of L Music Library x ML 1 .C787 (3rd floor)
Modern clarinetists need not choose between performing Mozart’s concerto, K. 622, on a basset clarinet or in a corrupt arrangement for the standard clarinet. Two alternative solutions to the traditional clarinet arrangement of the concerto have been offered: an unpublished 1961 thesis by Arthur Ness and an edition by Alan Hacker, published by Schott in 1974. Examples are given from both arrangements.(author)
Bartley, Linda. “Mozart revisited.” NACWPI Journal 48:2 (Winter 1999), 24-31.
U of L Music Library x ML 27 .U5N17 (3rd floor)
Reviews Pamela Weston’s edition of Mozart’s clarinet concerto, K. 622. Several passages from different editions are compared to illustrate the different solutions by the various editors to the low passages for basset horn.(Orchard, Joseph)
Birsak, K. “Salzburg, Mozart, and the clarinet.” The Clarinet 13:1 (1985), 26-31.
U of L Music Library x ML 1 .C787 (3rd floor)
Dallaire, Charles Joseph Mario. “The clarinet in solo, chamber, and concerto repertoire.” PhD, Concordia University, 2000. Ann Arbor, MI: University Microfilms International, 1990. vi
Discusses new additions to the clarinet repertoire. Offers transcriptions of three of Bach’s suites for violoncello solo, BWV 1008, 1009, and 1011. Explains the procedure of transforming idiomatic string writing to wind writing for clarinet.
Topics include formal analysis, tonality, articulation, and transformation. Proposes a new version of Mozart’s clarinet concerto, K.622 that eliminates awkward passage work and melodic lines resulting from careless editing in modern editions. (author)
Blom, Eric. “Mozart.” London: J. M. Dent and Songs Ltd., 1966.
U of L Music Library ML 410 .M9B65 1962
Etheridge, David. “Mozart’s clarinet concerto: the clarinetist’s view.” Gretna, La.: Pelican, 1983.
Describes Mozart’s concerto for clarinet, K. 622, and discusses the interpretations and performance techniques applied to it by eight leading clarinetists: Stanley Hasty, Robert Marcellus, Anthony Gigliotti, Harold Wright, Rudolf Jettel, Ulysse Delecluse, Jack Brymer, and Michele Incenzo. (Ann Viles)
Heyer, Anna Harriet. “Historical Sets, Collected Editions, and Monuments of Music, 2nd ed.” Chicago: American Library Association, 1969.
U of L Music Library ML 113 .H52 1969
King, Alexander Hyatt. “Mozart wind and string concertos.” BBC Music Guides. London: British Broadcasting Corp., 1978. Also published by London: Ariel, 1986
Discusses Mozart’s concertos and concerto movements for violin, horn, flute, clarinet, and the sinfonie concertantes for violin and viola and for flute and harp. Places each work in the context of the composer’s life and musical development; assesses various complex problems of authenticity, and mentions uncompleted concertos. Although only a few of these concertos match the quality of the best concertos for piano, their general level and variety show how the form could inspire Mozart even when he was composing for artists other than himself. (Author)
Landon, H. C. Robbins. “Mozart: The Golden Years, 1781-1791.” New York: Schirmer Books, 1989.
U of L Music Library ML 410 .M9 L2455 1989
Lawson, Colin. “The authentic clarinet: tone and tonality.” The Musical Times 124 (June 1983), 357-8.
U of L Music Library x ML 5 .M85 (3rd floor) – Also available electronically
Lawson, Colin. “The Early Clarinet: A Practical Guide.” Cambridge, New York and Melbourne: Cambridge University Press, 2000.
U of L Music Library ML 945 .L38 2000
Lawson, Colin. “Mozart: Clarinet Concerto.” Cambridge, New York and Melbourne: Cambridge University Press, 1996.
U of L Music Library ML 410 .M9L39 1996
Leeson, D. N. “Mozart and the clarinet in B-natural: an essay about clarinet substitution in music of the classic and early romantic periods.” The Clarinet 19:1 (1991), 50-2.
U of L Music Library x ML 1 .C787 (3rd floor)
McColl, W. “Low E-flat, D, C-sharp and C for Mozart (building a ‘modern’ basset clarinet).” The Clarinet 11:4 (1984), 44-5.
U of L Music Library x ML 1 .C787 (3rd floor)
Oestreich, J. R. “For an opener, leave it to Mozart (and a clarinet).” The New York Times 149 (September 21, 1999), B3.
U of L Music Library Newspaper rack (2nd floor)
Rendall, F. Geoffrey. “The Clarinet.” New York: Philosophical Library, 1957.
U of L Music Library ML 946 .R4 1957b
Rice, Albert R. “The Baroque Clarinet.” Oxford: Clarendon Press, 1992.
U of L Music Library ML 945 .R5 1992 c.2
Rice, Albert R. “The Clarinet in the Classical Period.” Oxford and New York: Oxford University Press, 2003.
U of L Music Library ML 945 .R52 2003
Ross, David Eugene. “A comprehensive performance project in clarinet literature with an organological study of the development of the clarinet in the eighteenth century.” DMA doc.: U. Iowa, 1985.
An investigation into the evolution of the clarinet in the 18th century with special attention to the changes in the first two-thirds of the century, a relatively undocumented period. (Author)
Rufino, V. J. “Stadler: Mozart’s clarinet muse.” The Clarinet 31 (September 2004), 74-8.
U of L Music Library x ML 1 .C787 (3rd floor)
Scott, Maxyne Mathisen. “Some early composers for the clarinet, 1700-1740.” NACWPI Journal 19:4 (Summer 1971), 20-22.
U of L Music Library x ML 27 .U5N17 (3rd floor)
Mentions composers before Mozart and Stamic who wrote for the early clarinet. In 1726 a clarinet part was written for a Mass, and the instrument was used in many early Viennese operas beginning in 1704. Kaiser, Graupner, Telemann, Walther, and Faber are among the composers who are named. (Mariam Coleman, abridged)
Sheveloff, Joel. “When sources seem to fail: The clarinet parts in Mozart’s K.581 and K. 622.” Critica musica: Essays in honor of Paul Brainard. Amsterdam, The Netherlands: Gordon and Breach, 1996.
U of L Music Library M (3rd floor)
(on pp. 379-401) Discusses the clarinet parts in Mozart’s clarinet quintet, K.581, and the clarinet concerto, K.622. In the sources for both works, the clarinet parts have disappeared and the copies of the parts are of late date and have long been known to have been grossly altered. Since 1948, a series of scholars and performers have attempted to reconstruct the clarinet parts for these works, but with inadequate results. Seven principles–observations on Mozart’s style–are offered and illustrated; these have served as the foundation for a reconstruction by the author (not included here). (Orchard, Joseph)
Thrasher, Michael. “The use of the clarinet in selected Viennese operas, 1786-1791.” DMA, University of North Texas (1997).
Considers the role of the clarinet in operas written during the 1780s. Works include Vicente Martin y Soler’s Una cosa rara; Wenzel Muller’s Das Sonnenfest der Braminen; Pavel Vranicky’s Oberon, Konig der Elfen; and several operas by Mozart.
Toeplitz, Uri. “Woodwinds in the music of Mozart.” Orbis musicae 6 (1978), 91-95.
U of L Music Library x ML 5 .O675 (3rd floor)
In the Mozart orchestra, the flute and oboes began to appear simultaneously instead of in alternation; the bassoon got an individual part, instead of doubling the bass-line, and the clarinet joined the group. Usually, these instruments are used in pairs for homogeneity of sound. Mozart’s innovations are reflected also in the wind parts themselves: the melodic line is divided into smaller units, played by successive instruments. Mozart composed for different wind players according to their abilities. (Claude Abravanel)
Wilby, Philip. “Mozart’s clarinet fragments K.516c, 580b, 581a.” Festschrift Albi Rosenthal, 295-306. See RILM 84-00661.
U of L Music Library ML 55 .R66 1984 (3rd floor)
Provides a glimpse into Mozart’s working methods and his growing self-criticism in the years following the death of his father. The author identifies musical reasons to explain why the clarinet pieces remained unfinished, and proposes possible dates for them. (Ruth E. Muller, abridged)

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