Clarinet Concerto in A k622; Horn Concerto No.3 in E Flat k447

1981 ◽  
Vol 122 (1658) ◽  
pp. 246
Author(s):  
Niall O'Loughlin ◽  
Mozart ◽  
Deinzer ◽  
Cruts ◽  
Collegium Aureum
Keyword(s):  
Horn Concerto ◽  
Clarinet Concerto

Clarinet Concerto in A, K622; Horn Concerto in E[flat], K447

1975 ◽  
Vol 116 (1583) ◽  
pp. 49
Author(s):  
Niall O'Loughlin ◽  
Mozart ◽  
Deinzer ◽  
Cruts ◽  
Collegium Aureum
Keyword(s):  
Horn Concerto ◽  
Clarinet Concerto

The New in Music (Part 2)

Tempo ◽  
1954 ◽  
pp. 26-33
Author(s):  
Jürgen Balzer
Keyword(s):  
Clarinet Concerto

In his Clarinet Concerto, composed in 1928, Carl Nielsen introduces his first movement with the following theme (quoted here in the C tonality of the repetition:

MUSIC IN THE AGE OF COFFEE

2007 ◽  
Vol 4 (2) ◽  
pp. 301-305 ◽  
Author(s):  
JOHN A. RICE
Keyword(s):  
Almost All ◽  
Clarinet Concerto

On 7–8 October 1791, about two months before his death, Mozart wrote to his wife: ‘Right after you left I played two games of billiards with Herr Mozart (who wrote the opera for Schikaneder’s theatre); then I sold my nag for 14 ducats; then I had Joseph summon Primus and bring me black coffee, with which I smoked a wonderful pipe of tobacco; then I orchestrated almost all of Stadler’s rondo’. In orchestrating the finale of the Clarinet Concerto under the influence of caffeine and nicotine, Mozart was very much a man of his age.

Clarinet Concerto in A, k622

1980 ◽  
Vol 121 (1646) ◽  
pp. 252
Author(s):  
Niall O'Loughlin ◽  
Mozart ◽  
King ◽  
ECO ◽  
Francis ◽  
...  
Keyword(s):  
Clarinet Concerto

Horn Concerto; Concerto for Orchestra

1975 ◽  
Vol 116 (1592) ◽  
pp. 886
Author(s):  
Paul Griffiths ◽  
Musgrave ◽  
Tuckwell ◽  
SNO ◽  
Gibson
Keyword(s):  
Horn Concerto

scholarly journals Analytic and Aesthetic Issues in Carl Nielsen’s Concerto for Clarinet and Orchestra

2003 ◽  
Vol 1 ◽  
Author(s):  
Daniel Grimley
Keyword(s):  
Twentieth Century ◽  
Large Scale ◽  
Musical Language ◽  
Generic Status ◽  
Original Musical ◽  
Orchestral Work ◽  
Concerto Form ◽  
Clarinet Concerto ◽  
Analytical Technology ◽  
Clarinet And Orchestra

Nielsen’s Clarinet Concerto is his last large-scale orchestral work, yet it has received considerably less analytical attention than his symphonies. This is partly because of the problematic generic status of the twentieth-century concerto, but also because of the work’s unusually complex musical language. In this paper, I outline an analytical technology for the work that builds on the notion of dialogue inherent within the concerto form. Nielsen’s concerto raises dialogue to the highest level of structure, and offers one of his most compelling and original musical narratives.

Don Juan: Some letters about the first performance

Tempo ◽  
1949 ◽  
pp. 11-12
Author(s):  
Ernest Roth
Keyword(s):  
Don Juan ◽  
Violin Concerto ◽  
Richard Strauss ◽  
Horn Concerto ◽  
Orchestral Work ◽  
First Time

On the 11th January, 1889, Don Juan was performed for the first time. It was in Weimar and the twenty-five year old Strauss, then Court Kappellmeister in Goethe's city, conducted himself. More than eight years had gone by since Hermann Levi, the conductor of the original Parsifal performance, had given Strauss's first orchestral work (the unpublished Symphony in D minor) and a number of scores had been completed since, the Violin Concerto Op. 8, the Horn Concerto Op. 11, the Symphony in F minor Op. 12, From Italy Op. 16 and a few which remained unpublished. Since October, 1885, Strauss had been conducting, in Meiningen first and then in Munich, both opera and concerts, and had acquainted himself with all the problems of orchestral technique and sonority. Moreover, his father, first horn in the Munich Court Orchestra, was a musician of thorough knowledge and a man of hard principles who saw to it that his son was not carried away by his amazing facility and wild temperament, but that he acquired the craftsmanship which in the last instance divides the genius from the gifted amateur. And this Richard Strauss did, with the same facility and unerring sureness with which he threw his music on to paper: in a clean and careful handwriting without corrections, without hesitation, quick but unhurried, strangely reminiscent of Mozart's implacable manuscripts.

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