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MONAURAL —ML 5852

Concerto

for Oboe, K.314

John de Lancie f Solo Oboe i

Concerto

for Clarinet, K.622

Anthony Gigliotti Solo Clarinet

COLUMBIA

360 SOUND

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i Library of Congress catalog card number R63-1103 applies to this record.

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Stereo—MS 6452 Monaural—ML 5852

MOZART: Concerto for Oboe and Orchestra, in C Major, K. 314 Concerto for Clarinet and Orchestra, in A Major, K. 622 John de Lancie, oboe /Anthony Gigliotti, clarinet

The Philadelphia Orchestra, Eugene Ormandy, Conductor Produced by John McClure and Thomas Frost

plied the use of soaring themes which—liberated from

all earthly ties—appeared in the melodic concord only as

a complete expression of smiling, resigned serenity. And

it is this inner serenity alone that is able to create that

balanced and spiritual readiness, devoid of all tension,

which is absolutely indispensable to the comprehension

of the artistic substance.

The concerto is in three movements—Allegro, Adagio,

and Rondo (Allegro). The work attains its climax in the

matchless Adagio, which is some of the most serene and

inspired music that Mozart ever imagined.

// As regards Mozart's concertos for wind instruments,

writes Alfred Einstein in his classic biography,

deal with them in short order. They are for the most part

occasional works in the narrower sense, intended to make

pleasant impression, and since it is in the very nature

of wind instruments that their players must be treated

with consideration, all these works are simpler in struc¬

ture, and the character of their melodic invention is de¬

termined by the limitations of the instruments. Not that

Mozart himself felt in any way cramped. He always

moved comfortably and freely with any limitations, and

turned them into positive advantages. Wind instrument

players are usually naive, with something very individual

about them—quite different from violinists or pianists.

Accordingly, all these concertos have something special

and personal about them, and when one hears them in

a concert hall, which is seldom enough, one has the feel¬

ing that the windows have suddenly been opened and

breath of fresh air been let in.

The Mozart Oboe Concerto is an example of a musical

work first scored for one instrument and later for another,

which has had some difficulty finding its way back to its

original status. It is now universally agreed that the work

was originally for oboe, composed in 1777 or 1778 for

the Salzburg oboist Giuseppe Ferlandis. Soon after,

Mozart was in need of a flute concerto, which he had

promised to the Dutch amateur and music patron De Jean

(for whom he had already composed the Flute Concerto

No. 1 in G Major). Not having time to write a completely

new work, he merely transposed the oboe concerto up a

note, to D major, and submitted it to the unsuspecting

De Jean. Since the flute version was published long before

the oboe version, the latter was naturally assumed to be

a transcription. But almost conclusive evidence to the

priority of the oboe version is the fact that in the trans¬

position of the key from C to D the violins never go below

A on the G-string. Furthermore, the style is somewhat

more carefully contained and less virtuosic than in the

G Major Flute Concerto, in keeping with the narrower

range of the oboe of Mozart's day.

The Allegro aperto first movement is made up of brisk

and witty melodies: after an orchestral introduction, the

oboe and tutti toss them back and forth with relish. The

second movement is an Andante ma non troppo, tender

and singing, again with much dialogue between oboe and

orchestra. The finale is an Allegro in rondo form; its main

subject will be immediately familiar to those who know

the opera The Abduction From the Seraglio, for it is

identical with Blondchen's aria, "Welche Wonne, welche

Lust.

//

// we can

//

The Concerto in A Major, for Clarinet and Orchestra,

K. 622, is the last of all the Mozart concertos for any

instrument. It was composed in 1791, in the last months

of the composer's life, shortly after the completion of the

two operas The Magic Flute and La Clemenza di Tito

(significantly, the last-named opera contains some mag¬

nificent writing for clarinet and basset horn, as though in

preparation for the great concerto to come). There is

reason to believe that Mozart originally intended the solo

instrument to be the basset horn, alto member of the

clarinet family. At least, he sketched part of a concerto

for that instrument in 1789, and he used that sketch as

the basis for the first movement of the A Major Concerto.

This work, as it stands, was intended for Mozart's friend,

the able clarinettist Anton Stadler, for whom Mozart also

wrote the lovely Clarinet Quintet, K. 581.

In Mozart's time the clarinet was a comparatively new

instrument. None existed in Salzburg, and it is assumed

that Mozart did not encounter the instrument until 1764,

when he made a copy in London of Karl Abel's sym¬

phony, which was scored for clarinets. He himself did

not employ the clarinet in his own works until 1771,

when he used it in the Divertimento, K. 113. "As far as

the art of writing for the instrument is concerned," says

Donald Francis Tovey, "Mozart may well be considered

to have invented or at least discovered the clarinet. His

three compositions in which the clarinet is the leading

wind instrument . . . belong to the last year of his life

and are among his most beautiful works.

Commentators have often wondered how Mozart man-

aged to write so perfectly for an instrument that was still

in its infancy. We may assume that Mozart frequently

listened to Stadler improvising on the clarinet and in this

way made himself familiar with the expressive technical

possibilities of that instrument's amazing range and the

striking differences in its registers.

Bernhard Paumgartner has written of the Clarinet

Concerto: "It is characterized by an incredible warmth of

tone and is dominated throughout by that close relation¬

ship between the soloist and the orchestra and the perfect

balance in the interplay and complementary integration

between the two, which demonstrates the unmatched per¬

fection of Mozart's late style in every bar. The choice

of the key of A major in Mozart's works frequently im-

a

//

John de Lancie, principal oboist of The Phila¬

delphia Orchestra, is responsible for urging the

great German composer, Richard Strauss, to write

his only concerto for oboe. It was after the

German collapse that Staff Sgt. de Lancie, sta¬

tioned in Bavaria, visited Strauss on several oc¬

casions. Now in his eighteenth season with The

Philadelphia Orchestra, de Lancie was pupil and

understudy of the great Marcel Tabuteau. When

the latter retired in 1954, his pupil was named his

successor. Upon graduation from Curtis Institute,

de Lancie joined the Pittsburgh Symphony, play¬

ing in the Robin Hood Dell Orchestra during the

summer. In addition to his orchestra duties, he

is a member of the Philadelphia Woodwind

Quintet and serves on the Curtis Institute faculty.

a //

Anthony Gigliotti, principal clarinettist of

The Philadelphia Orchestra, is a native Philadel¬

phian who entered Curtis Institute to follow in .

the footsteps of his father, Joseph Gigliotti, a

prominent clarinet teacher. During World War

II he enlisted in the band Eugene Ormandy

ganized at the Philadelphia Navy Yard. Later this

band was assigned to the USS Randolph and

Gigliotti spent a year and a half in the Pacific

Theatre. Returning to Curtis after service dis¬

charge, he graduated in 1946. Before joining The

Philadelphia Orchestra in 1949, he played one

season with the Ballet Russe de Monte Carlo and

three seasons with Thomas Scherman's Little

Orchestra Society of New York. He currently

serves on the Curtis Institute faculty.

//

or

COVER PHOTO: HORN/GRINER © COLUMBIA RECORDS 1963/ALL RIGHTS RESERVED ® "COLUMBIA", "MASTERWORKS", ^ MARCAS REG. PRINTED IN USA

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CONCERTO IN A MAJOR

FOR CLARINET AND ORCHESTRA, K. 622

ANTHONY GIGLIOTTI, Clarinetist

MS 6452 Side 2

THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY, Conductor