Concertino op.26 - MVSR2457 | Muziek

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Harmonie-orkest

Concertino op.26

für Klarinette und Blasorchester

Heinrich Bärmann gewidmet

Concertino op.26

Harmonie-orkest

Concertino op.26

für Klarinette und Blasorchester

Heinrich Bärmann gewidmet

Gelegenheid

Duur
00:09:57

Moeilijkheidsgraad
Ober-/Höchststufe

Uitgeverij
Rundel

Formaat
A4

Omvang
Partituur + Partijen

Editienummer
MVSR2457

Jaar van Publicatie
2006

Horen
Lezen
Horen & Lezen
Verlanglijstje
Afdrukken
Aanbevelen

Info

Carl Maria von Weber succeeded in establishing himself as a pioneer of German opera. With the first performance of his “Freischütz” in Berlin in 1821 Weber was finally given unprecedented acclaim as the founder of German Romantic popular opera.

It would, however, be wrong to limit Weber’s artistic impotrance to his operas. In the course of his short life he wrote some 300 compositions which comprise virtually all the musical genres of the early 19th century. Works for solo instruments and chamber music occupy a special position in his oeuvre.

These include two Clarinet Concertos in F minor (op.73) and E flat major (op.74) and the Concertino in E flat major, op.26, which Weber wrote in only six days. All three works were composed in 1811 and belong to a group of six compositions for clarinet which Weber wrote for the clarinettist Heinrich Joseph Baermann, one of the first great virtuosos on this instrument. It was his friendship with Baermann, but also the sound of the clarinet in particular which inspired Weber to write his concerti.
Baermann undoubtedly gave the composer sound professional advice during the process of writing and demonstrated to him the technical and tonal possibilities of the instrument. As a result, the clarinet became Weber’s favourite instrument and was put to greatest effect where the musical expression was intended to be as intensive and heartfelt as possible. The clarinet solo in the overture to the “Freischütz” is moving evidence of this.

In the one-movement Concertino, Weber proves his playful assuredness in handling the classical forms of the sonata, the concerto and the variation. Here he can demonstrate the sound training which he enjoyed under Abbé Vogler. However, he merely uses these forms as a framework in order to indulge his urge towards a free, rhapsodic, almost improvised, romantic flow of music even more effectively. At the same time, his wealth of sound and his penchant for interesting harmonic turns and unusual instrumental colouring find expression in a convincing manner.
In this arrangement for symphonic wind ensemble, these qualities are intensified yet further.

Sleutelwoorden

19e eeuw / 1800 / 1900

Arrangement / Transcriptie

Duitse componisten

Duitsland

Klarinet

Klassieke / Orkestrale transcripties

Klassieke muziek

Romantiek

romantisch

Solo

Onze Aanbeveling

Sinfonische Bläsermusik Vol.2

Sinfonische Bläsermusik Vol.2

Andere titels vanCarl Maria von Weber / Siegmund Goldhammer


14 Flötenquartette

14 Flötenquartette

Kol Nidrei

Kol Nidrei

Kaleidollage (Album 129)<br>Score Book + CD

Kaleidollage (Album 129)<br>Score Book + CD

Entrée Rhythmique

Entrée Rhythmique

Orpheus in der Unterwelt

Orpheus in der Unterwelt

Andere titels van het genreClassic / Solo for Clarinet / Classical Transcription / Solo


Clarinet Concerto KV 622

Clarinet Concerto KV 622

Nocturne for Clarinet and Band

Nocturne for Clarinet and Band

Variations for Clarinet

Variations for Clarinet

Melody

Melody

Concerto for Clarinet & Military Band

Concerto for Clarinet & Military Band