[PDF] Eric Hoeprich clarinet Orchestra of the Eighteenth Century Guy Van

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Eric Hoeprich, clarinet

[ten-key clarinet built by Eric Hoeprich after an original instrument by Griessling & Schlott, Berlin]

Orchestra of the Eighteenth Century

Guy Van Waas

, conductor po Recorded in Amsterdam (Keizersgrachtkerk), the Netherlands, in June 2019 Engineered and produced by Jochem Geene, Sandra Martin &Sieuwert Verster Executive producers: Sieuwert Verster (The Grand Tour / Orchestra of the Eighteenth Century) &Carlos CŽster (Glossa / note 1 music)

Editorial direction: Carlos CŽster

Design: Rosa Tendero

Booklet photographs © Annelies van der Vegt

© 2020 note 1 music gmbh

This recording was made possible by the generous support of our dear friend, Monica Rosenzweig Armour (photo on p.9).

eh& sv Jochem Geene, Sieuwert Verster, Eric Hoeprich, Catherine Manson, Guy Van Waas 54

Carl Maria von Weber (1786-1826)

Clarinet Concerto in F minor, op. 73 (1811)

01Allegro

7:50

02Adagio ma non troppo 5:47

03Rondo: Allegretto 6:18

Karol Kurpin´ski (1785-1857)

04Clarinet Concerto in B flat major (1823)

11:28

Carl Maria von Weber

Clarinet Concerto in E flat major, op. 74 (1811)

05Allegro

8:35

06Romanza: Andante con moto 7:12

07[Rondo] Alla Polacca 6:58

po 67

First Violin

Catherine Manson (concertmaster)

Franc Polman

Irmgard Schaller

Annelies van der Vegt

Sophie Wedell

Sayuri Yamagata

Second Violin

Staas Swierstra

Guya Martinini

Matthea de Muynck

Dirk Vermeulen

Richard Walz

Gustavo Zarba

Viola

Yoshiko Morita

Marten Boeken

Lola Fern‡ndez

Else KriegCello

Richte van der Meer

Julie Borsodi

Amke te Wies

Rainer Zipperling

Bass

Margaret Urquhart

Robert Franenberg

Flute

Ingo Nelken

Pablo Sosa del Rosario

Oboe

Frank de Bruine

Alayne Leslie

Clarinet

Kayo Nishida

Alejandro Farina Mart"nBassoon

Hugo Rodr"guez Arteaga

Danny Bond

Horn

Teunis van der Zwart

Stefan Blonk

Jairo Gimeno Veses

Trumpet

Nicolas Isabelle

Graham Nicholson

Timpani

Maarten van der Valk

Orchestra of the Eighteenth Century

98
english | 1110| english

Carl Maria von Weber

Karol Kurpin´ski

The Clarinet Concertos

It"s a well-known story: two artists meet, sparks fly and great Artis born. It doesn"t hurt for this to play out in wealthy surroundings inhabited by cultivated patrons - in this case the court of Maximilian I Joseph of Bavaria. Initially composed as a favour in early 1811, Carl Maria von Weber"s first solo work for the Munich clarinettist Heinrich Baermann, the Concertino, op. 26, proved so effective that the Bavarian king immediately commis- sioned two full-length concertos, which Weber duly composed in rapid succession. This entire venture took place in a few months, and subsequently piled triumph upon triumph, as the ambitious young men (at the time, Weber was 24 and Baermann, 27) then toured throughout Europe where they were fted and adored. Weber went on to become director of several prestigious opera houses, a decade later crafting his greatest achievement, Der Freischütz, a lasting success to this day. Baermann continued to tour and compose, also collaborating sub- sequently with Mendelssohn and Meyerbeer in creating several brilliant and virtuosic chamber works for clarinet. poThe Concerto in F minor opens with a gloomy melody in the bass which, following a terrifying outburst from the orchestra, is taken over by the strings in fortissimo, punctuated by descending scales in the winds. As the mood of urgency and despair dwindles and fades away, the clarinet enters like a woeful soprano with a plaintive melody, marked by the composer, con duolo(mournfully). This is then rhythmically diminished and like the opening tutti, builds to a climax before subsiding and modulating to the major where we remain for the rest of the section. Passages of light-hearted triplets in the solo are followed by the exceptional and wonderful Baermann-Kadenz, which, most unusually, is accompan- iedby the strings. These 16 bars of continuous "colo- ratura" are unprecedented in the solo concertogenre (possibly a response to Beethoven"s addition of timpani to the cadenza of his Violin Concerto, op. 61 of 1806). Not always performed, the cadenza is in fact included as part of Weber"s autograph score (in Baermann"s hand, except for the "traditional" solo section at the very end) and serves to fill out the movement. After a short interlude, the basses return to their gloom with a modulation to C minor, followed by a return of the same triplet material, now in B major. This opti- mism does not last for long and soon the clarinet is spinning out sixteenth-note runs marked con fuoco, followed by trenchant diminished chords, before modu- lating briefly back to F major. This too does not last as the clarinet builds up semprepi crescendo ed agitato to C minor. The orchestra repeats the opening melody,

followed by a brilliant chromatic sequence in the clari-net ascending to a two-bar trill in the altissimo register

and final outburst up to a high F. As the orchestra sub- sides to the final F minor cadence, the clarinet offers two last remarks before descending to a low F marked morendo.

The Adagiobegins in a better place - sunny C

major with a profoundly comforting low C in the double bass. On Baermann"s clarinet, this would have been a relatively subdued tonality, which matches the mood perfectly. A middle section in C minor (pi moto) featuring arpeggios in the clarinet accompanies a searing melody in the winds, ending emphatically in the minor. But we are soon back in the sun with one of the most inventive and remarkable sections in the concerto: a quartet of clarinet and three horns. This last for 28 bars before returning to the opening melody and a final cadence in C major. A joyful Rondoabandons F minor altogether with a rollicking, upbeat melody, an exciting cadenza up to high F, and a quantity of virtuoso passagework befitting an early Romantic solo work. A touching moment occurs in the middle of the movement with a modulation to D minor in a section of great poignancy, but we are soon back to the F major Rondo theme, leading to an exciting close. po Unfortunately, little is known about the genesis of Karol Kurpin"ski"s (1785-1857) Clarinet Concerto in B flat, composed during a sojourn in Paris, where he was

made a member of the SocietŽ des Enfants d"Apollonandbecame acquainted with many of the best musicians of

his day. Today Kurpin"skiis mainly known for his asso- ciation with Chopin, having taught the younger musician Concerto in E minor (1830). The Clarinet Concerto is generally considered to be the first movement of a complete work, the remainder of which has been lost; its structure, however, belies this. The work"s form resembles that of a complete concertino, "Allegro" seg- ments alternating with sections of "Adagio", similar to Weber"s op. 26. The opening melody in the strings is breezy and unpretentious. The full orchestra joins in, with a complete Harmonie(including clarinets!), and eventually winds down, somewhat wistfully, to a fermata in pianissimo. The solo clarinet enters with a dazzling scale up to the tonic B flat followed by a two-and-a- half octave plummet to the clarinet"s lowest note and a cadence on the sub-dominant (not unlike Weber"s

Concerto in E flat).

Then we are off on a virtuoso gallivant up and

down the entire range of the instrument. Sections of brilliance are effectively contrasted with dance-like motives and touching cantabile. In the first of the latter, the composer sneaks in an unabashed quotation from the Adagioof Mozart"s kv 622. This beautiful sequence is a prelude to a spirited melody followed by ever more brilliant virtuosity. Another tuttiof short duration modulates to G minor and a plaintive slow section in the solo part, followed by a march-like melody marked marciale. A triplet pattern modulates through the circle of fifths before we end up back in the tonic and the the scores Weber"s clarinet works are available in a variety of edi- tions, making it possible to choose from sources ranging from autograph scores to modern versions with numer- ous editorial additions. Among the latter, none has a place more prominent than the editions published in the 1860s by Heinrich Baermann"s son, Carl. However, these depart in so many ways from the original text that in spite of Carl"s claim that this is how his father performed the works, his credibility has been strained. Given that Carl learnt the clarinet from his father and performed with him, there must be at least some fidelity to his father"s approach. And since Heinrich Baermann was a good composer, his collaboration with Weber possibly extended beyond merely playing exactly what the composer wrote; he also may well even have been involved in the compositional process. Furthermore, numerous opportunities to perform these works make it likely that over time Baermann would most likely have varied his interpretation. But just how faithfully Carl transcribed these "variations" is a matter of specu- lation. Ultimately, every performer needs to figure out their own version after examining the sources.

The manuscript score of Kurpin"ski"s concerto is

preserved in the National Library in Warsaw, from which a printed score has been transcribed. In spite of an obvious change of character at several points in the work, the composer appears not to have given specific tempo indications. The musicians must rely on their

own musical instinct to create the mood and atmosphererequired by the music. The good news is that that this

allows the player to rely on his own artistic temperament to get at the essence of Kurpin"ski"s intentions. The less-good news is the manifest possibility that this may not have been the composer"s meaning. Nonetheless the spirit of the music is so very much in line with other solo works for clarinet from the period, that relating an interpretation to the Weber concertos heard on either side seems wholly in order. po the instrument Two period sources describe the clarinet played by Heinrich Baermann, although from the outset the point could be made that it is doubtful Baermann had the same instrument for his entire career. His first clarinet more than likely had the usual five keys. Only later, well into the nineteenth century, when instrument makers throughout Europe began to add more keys to this model, would he have adopted an instrument with up to twelve keys. In fact, Carl Baermann writes in his on a ten-key clarinet by Kriessling & Schlott [sic] of Berlin (fl 1801-1835). It has been noted that Baermann acquired this clarinet in 1809. Baermann"s instrument is also described, and illustrated, in Amand Vander- hagen"s Nouvelle MŽthode pour la Clarinette(1819) as a twelve-key model, in reference to his concerts in Paris in 1808. An instrument with ten to twelve keys made english | 13 melody from the introduction. A fermata provides the opportunity for an Eingangleading into yet another lament before we turn a last corner heading back to the home key in a blaze of virtuosity leading up to a high G. The work is truly exceptional and deserves to be better known outside of Kurpin"ski"s native Poland. (It is available in an edition for clarinet and piano [pwm] from 1950.) po Weber"s second Concerto is in E flat major, a tonality that Beethoven and others associated with expressions of heroism, courage and majesty - a character that perfectly describes the opening Allegro. The contrast with the F minor Concerto could not be greater. Following a grand introduction in the orchestra, instead of sneaking in, the clarinet opens forcefully with an altissimoE flat in fortissimofollowed by the same note three octaves below and a brilliant flourish again up to the top E flat. From this exuberant expression of courage we move to a slightly more military mood with some snappy arpeggios as a transition to the first theme of the movement, the sort of operatic melody we expect from Weber. This ariosomoment is followed by passages running up and down all the registers of the instrument, ending with a three-octave scale up to the now habitual top E flat. After a short orchestral interlude, the clarinet is again given cantabilematerial which leads into a section of thematic material from

the introduction, now in the minor. Near the end,consecutive arpeggios take the clarinet up to a high A

flat, the highest note found in Weber"s compositions for the instrument.

In the RomanzaWeber introduces a touching

melody in G minor for the solo instrument followed by sunny optimism in the strings in G major. The tristessereappears in the clarinet, this time in C minor, as a more complex story begins to emerge. Again, the strings attempt to soothe the protagonist, which seems to work, eliciting a three-octave scale in the major fol- lowed by leaps and rapid passagework with an excursion even higher - almost as high as the top A flat in the first movement - before returning to a simple cadence in E flat major. Just when all seems well, the orchestra comes forth with an introduction to a classic, operatic recitative. The solo voice responds plaintively, and as the orchestra insists, the solo builds to a climax with cascades of rapid scales, resolving to the original G minor and a return to the opening melody, as if being heard from a distance. In the ensuing Alla Polacca, the clarinet plays a dance-like, syncopated melody over a steady rhythm in the orchestra, providing relief after the heart-wrenching middle movement. We are back in the home key, but soon modulate to B flat major with passages up and down the instrument. The move- ment is both humorous and brilliant, finishing with a final section of rapid sextuplets which bring the work to a truly spectacular close. po

12| english

15 the scale more uniform, also facilitating rapid passage- work that would otherwise have been nearly impossible.

There can be no doubt that Weber (and Baermann!)

enjoyed new freedom to write in a larger variety of tonalities, and, specifically, with chromaticism in the low register - something a clarinet with fewer keys could not have managed. This recording features a replica of a ten-key instru- ment in the author"s collection by Griessling & Schlott of Berlin. The original, in less than perfect condition, could be described as "played out" - not surprising after some 200 years. Like the original, the replica is made in boxwood with (fake) ivory rings and brass keys - materials that would have been familiar to Baermann. Compared with other instruments of the period, Griessling & Schlott seemed to have preferred a robust sound, perhaps best described as "dark", making it rela- tively easy to blend and balance with the string instru- ments, and yet offering sufficient power to stand up to a large orchestra with a full wind section.

Eric Hoeprich

14| english

tonalitŽ de fa majeur. Cette page est, elle aussi, de courte durŽe, la clarinette se dirigeant sempre pi crescendo vers le do mineur. L"orchestre rŽexpose la mŽlodie d"ouverture suivie d"une page chromatique brillante ˆ la clarinette qui culmine par un trille durant deux mesures dans le registre supŽrieur avant l"explosion finale atteignant le fa suraigu. Tandis que l"orchestre s"apaise en arrivant ˆ la cadence finale en fa mineur, la jusqu"au fa grave marquŽ morendo. un do majeur ensoleillŽ soutenu par un do grave ˆ la contrebasse qui produit une sensation intense de rŽcon- fort. La clarinette originale de Baermann aurait donnŽ ˆ cette page une sonoritŽ relativement feutrŽe, corres- clarinette accompagnent une mŽlodie d"une grande intensitŽ confiŽe aux vents, se terminant avec Žnergie dans une tonalitŽ mineure. Mais le soleil aperu au dŽbut de l"AdagiorŽappara"t sans tarder pour illuminer l"une des pages les plus inventives et remarquables du concerto : un quatuor pour clarinette et trois cors, qui dure 28 mesures avant la reprise de la mŽlodie d"ouverture aboutissant ˆ une cadence finale en do majeur. Un joyeux RondodŽlaisse le fa mineur pour une mŽlodie exubŽrante et optimiste suivie d"une cadence exaltante atteignant le fa aigu et donnant lieu ˆ de nombreux pas- Romantisme. Un moment Žmouvant a lieu au milieu Rondo, bient™t repris, aboutit ˆ une conclusion pas- sionnante. po Nous n"avons malheureusement que peu d"information Karol Kurpin"ski (1785-1857), Žcrit lors d"un sŽjour ˆ Paris durant lequel le compositeur devint membre de la SociŽtŽ des Enfants d"Apollon et fit la connaissance de plusieurs musiciens parmi les meilleurs de son temps. Aujourd"hui, Kurpin"ski est surtout connu pour sa relation avec Chopin ; il enseigna en effet la com- cution de son Concerto pour pianoen mi mineur(1830). Le Concerto pour clarinettede Kurpin"ski est gŽnŽralement d"un concertino complet, o des pages allegro, alternent avec des Žpisodes adagio, comme dans l"opus 26 de Weber. La mŽlodie d"ouverture, dŽsinvolte et sans prŽ- tention, exposŽe aux cordes, est rejointe par l"orchestre un point d"orgue en pianissimo. La clarinette fait son entrŽe en jouant une gamme Žblouissante allant jusqu"ˆ la tonique, si bŽmol, suivie d"une chute de deux octaves et demie aboutissant ˆ la note la plus basse de la cla- rinette ; vient ensuite la cadence ˆ la sous-dominante français | 1716| français

Carl Maria von Weber

Karol Kurpin´ski

Les Concertos pour clarinette

L"histoire est connue : deux artistes se rencontrent et des Žtincelles fusent en engendrant le Grand Art. Et il n"y a aucun inconvŽnient ˆ ce que cette naissance ait cultivŽs - dans ce cas, la cour de Maximilien I er

Joseph

soliste de Carl Maria von Weber pour le clarinettiste de durŽe normale. Weber les composa dans la foulŽe, en quelques mois, et les deux artistes jeunes et ambitieux (le compositeur avait alors 24 ans et le clarinettiste, 27) toute l"Europe o ils Žtaient ftŽs et adorŽs. Weber fut ensuite nommŽ directeur de plusieurs thŽ‰tres d"opŽra prestigieux et, une dŽcennie plus tard, rŽalisa son chef- et collabora aussi avec Mendelssohn et Meyerbeer dans nette aussi brillantes que virtuoses. poLe Concertoen fa mineurdŽbute dans le registre grave rifiante de l"orchestre, est reprise aux cordes en fortissimo et ponctuŽe par les gammes descendantes des vents. Le ton d"urgence et de dŽsespoir s"estompe peu ˆ peu et la clarinette, Žvoquant une soprano ŽplorŽe, entonne une mŽlodie plaintive, con duolo(avec douleur) selon l"indication du compositeur. Cette page au rythme dŽcroissant conduit, comme le faisait le tuttid"ouverture, ˆ un point culminant avant de s"apaiser et de moduler ˆ la tonalitŽ majeure qui demeure tout au long de la sec- tion. Des passages enjouŽs en triolets jouŽs ˆ la clarinette en solo sont suivis par la cadence merveilleuse et extra- ordinaire de Baermann qui, exceptionnellement, est accompagnŽe par les cordes. Ces 16 mesures de Ç colo- rature È ininterrompue sont sans prŽcŽdent dans le genre du concerto pour soliste et orchestre (et consti- tuent peut-tre une rŽponse ˆ Beethoven qui incorpora les timbales ˆ la cadence de son Concerto pour violon op. 61 de 1806). Pas toujours interprŽtŽe, la cadence est cependant incluse dans la partition autographe de Weber (de la main de Baermann, ˆ l"exception de l"Žpi- une modulation en do mineur suivie de la rŽexposition de la page prŽcŽdente en triolets, ˆ prŽsent en si bŽmol majeur. Le ton optimiste ne dure pas longtemps et la clarinette entame bient™t un passage en doubles croches marquŽ con fuoco, suivi par des accords diminuŽs tran- le la bŽmol aigu du premier mouvement - avant de revenir ˆ une cadence simple en mi bŽmol majeur. Au moment o tout semblait aller pour le mieux, l"orchestre se manifeste en introduisant un rŽcitatif opŽristique classique. L"instrument soliste rŽpond dans un ton plaintif et, ˆ l"insistance de l"orchestre, se dirige vers un point culminant en multipliant les gammes rapides en cascade jusqu"ˆ la rŽsolution dans la tonalitŽ du dŽbut, sol mineur, conduisant ˆ la rŽexposition de la mŽlodiequotesdbs_dbs22.pdfusesText_28

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