PERFORMANCE-STYLE FEATURES OF THE CONCERTO № 3 FOR CLARINET AND ORCHESTRA BY L. SPOHR

The purpose of this scientific investigation is the disclosure of the creative phenomenon of German composer L. Spohr in wind contemporary academic music and performing art by identifying the most characteristic performance and the stylistic peculiarities of creator that is instrumentally artistic speech. The material of this study is the well-known Concerto № 3 for Clarinet with symphonic orchestra by L. Spohr. The methods of this scientific intelligence are in the application of general scientific approaches to the study of a particular topic. The historical method is used to highlight the place of clarinet masterpieces and, in particular, Concert № 3, in the palette of the artistʼs creative achievements. The comparative method creates the possibility of comparing a number of clarinet means of expression with the artistic potential of string-bow performance. The sequence of presentation of the material is determined by the action of the structural-analytical method. Methods of observation and generalization are of practical importance. The scientific novelty of this specialized disquisition is due to the insufficient study of the clarinet works of L. Spohr in the light of modern musicological thought. Conclusions. The distinctiveness of L. Spohrʼs performance- stylistic peculiaritics of instrumental speech in clarinet Concerto № 3 for clarinet and orchestra is marked, first of all, by the use of various types of virtuosity (shallow, combined, large virtuosity), the performance of various types of melismatics both in slow and melodic ways, the use of high and ultra-high sound registers of the instrument (note to the fourth octave), which, we emphasize, comes from the violin academic artistic and creative activity of L. Spohr and, in general, and of high performing skill as a virtuoso violinist.

Joan Guinjoan concertos

JOAN GUINJOAN: Concerto for clarinet and orchestra; Concerto for piano and orchestra; Música per a violoncel i orquestra. Joan Enric Lluna (cl), David Abramovitz (pno), Lluís Claret (vlc). Orquestra Simfònica de Barcelona i Nacional de Catalunya, c. Ernest Martínez Izquierdo. Harmonia Mundi HMI 987056.

Analytic and Aesthetic Issues in Carl Nielsen’s Concerto for 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.