Mozart completed his Bassoon Concerto—the first of his existing concertos for wind instruments—in Salzburg on June 4, 1774. The manuscript on which he recorded this date is now lost, but was once in the possession of publisher A. André, who published the work in 1801 and issued another edition in 1805. It is infinitely regrettable that Mozart may have composed as many as four other bassoon concertos, but this is the only one that survives. We have no documentation about a bassoonist for whom he intended the work or about the first performance. Most likely Mozart wrote it for one of the two bassoonists employed by the Archbishop Colloredo of Salzburg—Johann Heinrich Schulz or Melchior Sandmayr.

The Concerto admirably displays the lyrical expressiveness, staccato capabilities, and contrasting ranges of the bassoon. The sonata-form first movement begins with the traditional presentation of ideas by the orchestra alone—a shortened version of the main theme, a second theme of notably unusual phrase lengths, and a closing arpeggiated theme, which remains the property of the orchestra only in the course of the movement. Mozart’s treatment of the second theme is especially elegant—when the orchestra plays this theme in the soloist’s exposition Mozart gives the bassoon a countermelody and in the corresponding place in the recapitulation the bassoon and orchestra melodies are reversed.

By qualifying the Andante tempo marking with “ma adagio” and by employing muted strings throughout, Mozart infuses a tinge of pathos into the serene atmosphere of the second movement. His writing for the bassoon shows off its singing qualities to great advantage. The opening idea bears a similarity—intended or not?—to the Countess’s aria “Porgi amor” from The Marriage of Figaro, and also appears in a sketchbook Mozart used during his London journey of 1766.

For his finale Mozart chose the type of minuet-rondo favored by J. C. Bach, whom he greatly admired; that is, in the style and triple meter of a minuet but with the rondo form of a recurring refrain with intervening episodes. Mozart also ingeniously incorporates elements of variation form by giving the soloist variation material or figuration in the episodes between the orchestra’s statements of the rondo refrain. He offers intriguing variety, though, by entrusting the next to last statement of the refrain to the bassoon while the strings offer contrapuntal interest. By providing places for an “Eingang” (short cadenza-like passage) in the outer movements, and for cadenzas proper in the first two movements, Mozart allows the soloist ample opportunities for additional display and imagination.

—©Jane Vial Jaffe