This article provides a comprehensive analysis of Carl Maria von Weber’s Clarinet Concerto No. 1 in F minor, Op. 73, as an exemplary manifestation of Romantic instrumental thinking with a focus on performative stage interpretation. It emphasizes that the clarinet functions not only as a virtuoso instrument but as a personalized musical protagonist, undergoing dramatic and expressive development. The study investigates the work’s structural organization, timbral symbolism, and the semantics of registers and articulation techniques. Special attention is given to phrasing, cadenzas, and the breathing architecture in performance. Interpretations by Heinrich Baermann (historical tradition), Oleksandr Sabinenko (Ukrainian school), and Sabine Meyer (modern European perspective) are analyzed to trace the evolution of approaches to the concerto. The article highlights the importance of performative stage thinking, where the performer is not merely a technician but an artistic narrator constructing a personal dramaturgical arc. The study concludes that Weber’s concerto can be perceived as a staged instrumental drama with a clear emotional transformation of the soloist. Recommendations are provided for both pedagogical and concert applications in contemporary performance practice. The material is relevant for clarinet instruction in higher music education institutions and for interdisciplinary research in musical semiotics and performance studies. Furthermore, the concerto offers valuable pedagogical opportunities for developing expressive phrasing, control of extended registers, and mastery of stylistic contrasts. Its inclusion in academic curricula not only strengthens technical proficiency but also fosters the performer’s ability to build a coherent artistic narrative, making it an indispensable work for both professional training and broader cultural discourse.

У статті досліджується “Концерт для кларнета з оркестром № 1 f-moll, op. 73” К. М. Вебера як художній текст із розгорнутою музичною драматургією, у якому кларнет виступає як персоніфікований музичний герой. Основна увага зосереджена на виражальних засобах, тембровій символіці, структурній побудові твору та сучасних виконавських інтерпретаціях. Аналіз проводиться у міждисциплінарному аспекті: музикознавчому, семіотичному, сценічно-виконавському. Визначено моделі сценічного мислення у партії соліста та роль кларнета як провідника емоційної трансформації слухача.