Corigliano – Concerto for Clarinet and Orchestra скачать в хорошем качестве

Corigliano – Concerto for Clarinet and Orchestra

John Corigliano (b. 1938) – Concerto for Clarinet and Orchestra (1977) I. Cadenzas [0:03] II. Elegy [8:50] III. Antiphonal Toccata [17:21] Stanley Druker, clarinet Zubin Mehta, conductor New York Philharmonic G Schirmer Inc, purchase score: https://www.wisemusicclassical.com/work/26... "I rely on the components of particular concerts to generate my musical materials. This commission from the New York Philharmonic provided me with a unique constellation of elements that eventually formed the basis of my approach to the work. My associations as a child – attending rehearsals and performances with my father, who was then the concertmaster of the Philharmonic – gave me the opportunity of getting to know many of the men in the orchestra both as artists and friends. This feeling of intimacy governed my decision to make sure that my first work for the Philharmonic utilized the entire orchestra. I was aware that, with a wind concerto, this is a potentially dangerous thing to do – to solve problems of balance most such pieces are discreetly scored for small ensembles – but it provided me with a fascinating challenge. [...] I. Cadenzas: The first movement is actually two cadenzas, separated by an interlude. It starts directly with the first cadenza, subtitled “ignis fatuus” (“Will-o’-the wisp”). Like that phosphorescent flickering light, this cadenza is almost audibly invisible. The soloist begins with a rapid unaccompanied whispering run. He then appears and disappears, playing as fast as possible, leaving glowing remnants behind in the orchestra. All the material for this movement is contained in the initial cadenza, including a central chord which functions as a tonic might in conventional harmony. This chord (E-flat, D, A, E-natural) is derived from the clarinet melody, and is held by the strings under the rapid clarinet passages of the last part of the cadenza. [...] “Corona solis” (i.e., the crown or corona of the sun) is the macrocosmic version of the microcosmic “Ignis fatuus” – the opening cadenza transformed into blazing bursts of energy, accompanied by orchestral outbursts and dominated by the soloist. “Corona solis” builds to a peak that signals the entrance of the full orchestra. This in turn builds to a long-held climax in which the “tonic” chord from the “Ignis fatuus” boils with energy. The chord eventually diminishes in intensity until at last it is held only by four solo strings. The solo clarinet then enters pianissimo, and after assisting the disintegration of the held chord, it flickers and finally disappears into silence. II. Elegy: The slow movement, , was written in memory of my father, who died on September 1, 1975. He had been concertmaster of the Philharmonic for 23 years and I still find it hard to think of the orchestra without him sitting in the first chair. So the idea of an extended dialogue for clarinet and violin seemed not only natural but inevitable. This duet has a special poignancy for me when I remember the many years that my father and Stanley Drucker were colleagues under the baton of Leonard Bernstein. [...] III. Antiphonal Toccata: The finale is my solution to the balance problems created by using the full orchestra in a wind concerto. Early on I made a decision to save some of the instruments (five French horns, two trumpets, and two clarinets) for the final moments of the Concerto. This gave the idea of physically separating them from the rest of the orchestra, and that, in turn, led to locating them in spatial positions so that they could be used antiphonally. An immediate problem arose: that of being able to synchronize the distant instruments with the orchestra. The relatively slow speed of sound can mean up to a one-second delay between the sounding of a tone and its perception at a distance in a concert hall, making precisely synchronized playing impossible. The solution, I found, was to write music which specifically shouldn’t be synchronized, and against these erratic patterns I superimposed the opposite rhythmic idea – that of a toccata, with its regular, tightly aligned motor-rhythmic pulsations. – John Corigliano