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Track(s) taken from CKD409

Concertino for clarinet and orchestra in C minor / E flat major, J109 Op 26

composer

Maximiliano Martín (clarinet), Scottish Chamber Orchestra, Alexander Janiczek (conductor)
Studio Master FLAC & ALAC downloads available
CD-Quality:
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Recording details: September 2011
Usher Hall, Edinburgh, Scotland
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: September 2012
Total duration: 9 minutes 10 seconds

Cover artwork: The Ninth Wave by Ivan Konstantinovich Aivazovsky (1817-1900)
AKG London / RIA Novosti
 
1
2
Andante  [4'28]
3
Allegro  [2'00]

Reviews

'Put a smile on your face with the lively mix of concertos for clarinet, bassoon and horn from the Scottish Chamber Orchestra' (Classic FM)

‘It was a no-holds-barred approach from Janiczek, leading to an exhilarating result, infused with bright, bold radiance' (The Scotsman)

'The Scottish Chamber Orchestra are going from strength to strength in their recordings for Linn' (MusicWeb International)» More
In February 1811, aged 25, Weber embarked on a concert tour that he intended would take him to Munich, Prague, Dresden, Berlin, Copenhagen and St Petersburg. In fact, he stopped in Munich, his first port of call, whose court would prove critical in the creation of his wind concertos. Armed with a letter of introduction to Maximilian Josef von Montgelas, minister to King Maximilian I of the newly created state of Bavaria, he was welcomed into the palace and introduced to the Queen, who requested that he put on a concert to display his musical skills.

Among the Munich court orchestra’s players was the clarinettist Heinrich Bärmann. Born in 1784, Bärmann had trained in Potsdam and served in a military band before he was captured by Napoleon’s troops in Jena. Upon his release, he had returned to Munich, and had later become widely known for his virtuosity on the clarinet following a concert tour that took in England, France, Italy and Russia.

Bärmann and Weber quickly became close friends during the composer’s stay in Munich. Seizing the opportunity offered by Bärmann’s presence, Weber immediately set to work on a piece for the proposed royal concert that would display both his own and the clarinettist’s skills. The work would become the Clarinet Concertino.

The concert took place on the 5th April 1811, and Weber and Bärmann performed to a packed audience. The Concertino was a huge success with the court and the public alike, to such an extent that the King commissioned two further clarinet concertos from Weber (which he also wrote for Bärmann).

Weber seems to have been intent on showing off Bärmann’s advanced performing technique in the Concertino, especially the tone colour and flexibility enabled by the ten-key instrument that the clarinettist had recently started playing. Even in the clarinet’s second phrase, for example, there’s a leap of more than two octaves designed to test the soloist’s control of tone colour and smoothness of phrasing.

The single-movement Concertino moves from a slow introduction in C minor to an Andante theme and variations in E-flat major, and finally a genial Allegro that continues the E-flat major tonality. An emphatic C minor chord accompanied by pounding timpani launches the work, and the clarinet unexpectedly enters with a plaintive melody half-way through a phrase. Solemn horns in octaves mark the transition to the Andante’s amiable theme, and the clarinettist is soon put through his paces in increasingly demanding and complex variations (even the first one is marked con fuoco, literally ‘with fire’). The music suddenly dies away into a remarkable passage scored for the dark-hued combination of clarinet and divisi violas, a moment of stillness amid the Concertino’s frenetic activity. It’s also an episode that mirrors similar passages, equally strikingly scored, in Weber’s other wind concertos. The music soon bursts back into bright, vibrant life, though, and after a calmer section that harks back to the opening’s C minor tonality, the piece heads to its brilliant conclusion with bubbling arpeggios from the soloist.

from notes by David Kettle 2012

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