Klarinet Archive - Posting 000210.txt from 1996/11

From: Peter Stoll <peter.stoll@-----.ca>
Subj: Spohr Concerti
Date: Sat, 9 Nov 1996 21:24:56 -0500

Dan Leeson wonders eloquently about why the Spohr Concerti are
not more often played. Although I love the Leister recordings of them,
and have played Concerto #1 (which seems to be the most often played of
the 4 concerti) several times, I must say two things about Spohr's
writing that might account for this.

First, I understand Spohr was a brilliant violinist, and Hermstedt, the
clarinetist I believe he wrote all his works for (and also Weber the
Grand Duo) was apparently possessed of an incredible technique, but a
very shrill, metallic sound. The concept of the pieces seems to
reflect this in favouring rapid passagework over melodic/harmonic
inventiveness, and overall seems to cause a perception of shallowness in
many listeners. Both outer movements of Con.#1 repeat extensive blocks of
technical material verbatim, modulated only into the major key. I
remember an official at the Jeunesses Musicales Competition some years
ago in Belgrade turning to me after a brilliant performance of Spohr 1
in the finals by Juan Enric Lluna and saying "Oh you poor clarinetists, such
repertoire"!

Secondly, the clarinet technique is extremely uncomfortable to play, often
heading up into the stratosphere rapidly and demanding long sequences of
awkward register shifts in very exposed musical surroundings. One
curious thing is that despite all this physical workout, both fast
movements end up softly and very anti-climactically. There are long passages
with no comfortable breathing places, surely a cardinal sin in composing
for a wind instrument (eg.after rehearsal D in movement 1). In fact, the
editors of the modern editions of the concerti were forced to provide so
many ossia cuelines above the original version I took to referring to
these as "double concerti" as so much recomposition seemed to be needed
to bring them off.

The slow movements to his works often feature 32nd note runs and
chromatic sequences instead of the longer, less harried melodic lines a
la Moz.Larghetto/Adagio that the ear needs after a long bout of passagework.

Now, don't get me wrong; I'm not for a minute saying that the fact these
pieces are uncomfortable to play and more into display than Brahms make
them undeserving of performance, just that A) that's why more players
don't take them on, and B) that's why Spohr isn't in the Top Ten (or
whatever) of classical composers. These pieces remind me of the Milhaud
Concerto, another interesting but underplayed clarinet concerto that
seems a bit too preoccupied with sequential passages for its duration to
make a strong impact.

P