Klarinet Archive - Posting 000692.txt from 1997/05

From: Jonathan Cohler <cohler@-----.net>
Subj: Re: Grand Duo Concertante written for ?
Date: Tue, 27 May 1997 08:38:47 -0400

Alan Stanek wrote:

>Having recently purchased a new edition of von Weber's _Grand Duo
>Concertante, Op. 48_ (edited by Pamela Weston - Fentone publisher - 1989
>- upon the bicentenary of Weber's birth) and upon reading the Forward,
>the question, for whom did Weber write this work, is another of those
>perhaps unanswerable mysteries.
>
>Anyone out there that would render a definitive answer for Klarinet
>readers?
>--

My research indicated that this was the only clarinet work that Weber wrote
for Johann Hermstedt, the clarinetist usually linked with Spohr. Weber
himself performed the premiere of the work with Hermstedt. All of Weber's
other clarinet works were written for Joseph Heinrich Baermann. Below are
the notes that I wrote about the piece for my CD "Cohler on Clarinet"
(Ongaku 024-101).

--Jonathan Cohler
cohler@-----.net

Although primarily known as the first of the great Romantic composers and
the founder of German Romantic opera with Der Freisch=FCtz, Weber was a
multi-faceted, multi-talented man. One of the great pianists of the day,
Weber is also credited with being the most important conductor of his
period. He transformed the conductor from a rather passive time beater
into the real leader of the orchestra. He was one of the first to
institute sectional rehearsals and to demand and exert detailed control
over his entire operatic productions.
Weber's long-time friendship with Heinrich Joseph B=E4rmann, one of the grea=
t
clarinetists of that time, no doubt spurred him to also become one of the
most prolific composers for the clarinet. His solo works for the clarinet
include two concertos, a concertino, a quintet with strings, an
introduction, theme & variations and the Grand Duo Concertant with piano,
which was his last piece for the instrument.

The Grand Duo is unique among all his clarinet pieces for a couple of
reasons. Unlike his other works in which the accompaniments are
subservient background to a virtuoso solo part, the Grand Duo presents an
equal juxtaposition of two virtuoso solo parts, one on the clarinet, the
other on the piano. There is never any question in the listener's mind
that this piece is a Duo in the true sense of the word. Flowing scales in
thirds and sixths and a back-and-forth sharing of the melody and
accompaniment lines characterize this piece throughout and many of his
operas that followed. Hearing the operatic interlude in the third movement
one can't help but feel the musical connections with Oberon and Der
@-----.

The second reason this work stands out is that it was the only of Weber's
works not written for B@-----. Instead it was written for Johann Hermsted=
t
who is more often associated with another romantic composer for the
clarinet, Ludwig Spohr. It is no surprise that Weber performed the
premiere of this work himself with Hermstedt, because there are several
passages in this piece that can be played only by a pianist with enormous
hands and phenomenal technique, both of which Weber possessed. As Harold
Schonberg puts it, "some of the stretches that he wrote cannot be played by
normal human beings."

The first movement, Allegro con fuoco, is in standard sonata-allegro form
and revolves around the scalar passages that erupt in the very beginning.
In the middle, the scales give way to an operatic give-and-take of lilting
music and an occasional measure or two of rhythmic and melodic repose, but
the undercurrent of constant eighth notes is never gone for long. Deftly
transforming the lilting undercurrent back into driving con fuoco scales,
Weber brings the movement to a brilliant close. A subtle and expressive
opening to the C minor Andante con moto second movement later turns into an
expansive exploration of the clarinet's sounds, colors, dynamics and range.
The Rondo: Allegro third movement returns to the scalar ideas of the first
movement, but now presents them in a lilting six-eight meter. After the
recitativo middle section, the piece closes with what could best be
described as a virtuosic orgy of scales and arpeggios for two.

   
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