Crussell triple concerto?
Dr. Grenier-Marmet
H. Crussell triple concerto for clarinet, bassoon, and french horn?
--
Dr. Guillaume Grenier-Marmet
500 W. 14th Street
Tempe, AZ 85281
480-343-6269
beau gustave
the Finnish clarinet virtuoso (1775-1838), and literary scholar. He left an
autoboography that is in manuscript in Sweden and his instruments also survive there.
He apparently played with the reed on top.
I do not know of any modern editions of the work you seek, but it was published in 1816 by
Peters in Leipzig as _Concertante pour Clarinette, Cor et Basson avec grande
Orchestre, Oeuv. 3_ (orchestral parts).There are copies that I know about in the
Staatsbibliothek in Berlin and the Hessische Landesbibliothek in Darmstadt.
But surely there are other copies extant. Is there a CD? Then contact the performer.
You might seek the assistance of an InterLinbary Loan librarian at the
University in Tempe. Ask for a search on OCLC to see if there are copies in the U.S.
Otherwise they might order a microfilm for you from Germany, or can tell
you how to do so. They have books with library addresses, etc.
I'd try Darmstadt first. Or maybe one of our German readers could assist you directly.
Beau Gus
beau gustave
the Finnish clarinet virtuoso (1775-1838), and literary scholar. He left an
autoboography that is in manuscript in Sweden and his instruments also survive there.
He apparently played with the reed on top.
I do not know of any modern editions of the work you seek, but it was published in 1816 by
Peters in Leipzig as _Concertante pour Clarinette, Cor et Basson avec grande
Orchestre, Oeuv. 3_ (orchestral parts).There are copies that I know about in the
Staatsbibliothek in Berlin and the Hessische Landesbibliothek in Darmstadt.
But surely there are other copies extant. Is there a CD? Then contact the performer.
You might seek the assistance of an InterLinbary Loan librarian at the
University in Tempe. Ask for a search on OCLC to see if there are copies in the U.S.
Otherwise they might order a microfilm for you from Germany, or can tell
you how to do so. They have books with library addresses, etc.
I'd try Darmstadt first. Or maybe one of our German readers could assist you directly.
Beau Gus
On Wed, 19 Jan 2005 09:14:01 -0700, "Dr. Grenier-Marmet" <bia...@cox.net> wrote:
beau
Crussell's three clarinet concertos played by Per Billman, clarinet, with the Uppsala Chamber
Orchestra (NAXOS DDD 8.554144). These are such fine works. They remind me of the Weber concertos
in the virtuoso writing for clarinet and in the full orchestral sonorities. But they were, in fact,
written in the first decade of the 19th century, thus before the Weber works. A common influence
may be the Mannheim clarinetist Franz Tausch with whom both Crussell and Baermann studied. I think
the Crussell concertos are superior to the Weber ones, if saying that isn't blasphemy on this list.
These are real virtuoso works, but rise above the meaningless noodling that one often finds when
instrumentalists write for their own instrument. Billman tosses them off with abandon. Billman is
principal clarinetist in the Stockholm Royal Opera Orchestra, a position that Crussell once held two
centuries earlier.
Among other interesting clarinet CDs is one devoted with the double concerto by Antonio Cartellieri.
The double concerto was premiered in Vienna by Anton and Johann Stadler a few uyears before Mozart
wrote his concerto for Anton. I suspect that the second part is for basset clarinet, but like the
Mozart concerto as published the part is altered to fit the usual clarinet. It's Musikproduction
Dabinghaus und Grimm (MDG 301 0960-2) with Dieter Kloecker and Sandra Arnold, clarinets, with the
Czech Philharmonic Chamber Orchestra.
============================Beau Gus wrote======================
There has surely been a great deal of recent interest in Bernhard Crussell,
the Finnish clarinet virtuoso (1775-1838), and literary scholar. He left an
autoboography that is in manuscript in Sweden and his instruments also survive there.
He apparently played with the reed on top.
<<snip>>
On Wed, 19 Jan 2005 09:14:01 -0700, "Dr. Grenier-Marmet" <bia...@cox.net> wrote:
Dr. Grenier-Marmet
virtuoso while remaining very musical and expressive. I have performed a
few times his Quartet Op.7 in D-major for clarinet, violon, viola, and cello
with my chamber group and find much finesse in his compositional style for
the clarinet. On the other hand, the string parts are rather symplistic but
I beleive that Crussell wanted this piece to mainly feature the clarinet.
Thank you for the CD suggestions, I will find and listen to them very soon.
While it is true that some composers "noodle" a bit when they write for
their own instruments, I find that many of them (Paganini(violin),
Cavallini(clarinet), Listz(piano), Schumann(piano), Rabath(double bass),
Eric Mandat(clarinet), to only name a few.) feature much more interesting
and developed music than the composers who cannot master the instrument as
well. I also think this is the way instrumental techniques evolved into
what they are today. I beleive for instance that this may be one of the
reasons why Crussell's clarinet music seems more developed and virtuoso than
Weber's. As far as using the term "superior" to qualify Crussell's music in
comparaison to Weber's, I do not beleive it is a blasphemy but think that
is may be raw conclusion for a comparaison which is'nt necessarily fair.
For instance, should we compare Crussell's operas (which I do not know of
any) to Weber's, we would probably attribute the "superior" to Weber's
compositions rather than Crussell's. In that way, I can see why some
people could be offended by your "blasphemy" but on the other hand, I
perfectly understood the meaning of your comment and therefore absolutely
agree with you. I find you comments rather interesting and enjoy reading
you.
Thanks!
"beau" <no_...@compuserve.com> wrote in message
news:41f1a4ec...@news.compuserve.com...
beau gustave
On Fri, 21 Jan 2005 21:05:31 -0700, "Dr. Grenier-Marmet" <bia...@cox.net> wrote:
> I agree with you "beau" that Crussell's clarinet music is particularly
>virtuoso while remaining very musical and expressive. I have performed a
>few times his Quartet Op.7 in D-major for clarinet, violon, viola, and cello
>with my chamber group and find much finesse in his compositional style for
>the clarinet. On the other hand, the string parts are rather symplistic but
>I beleive that Crussell wanted this piece to mainly feature the clarinet.
Reminds me again of Weber. I once had a string quartet refuse to play it. But you'll notice that
the orchestral parts for the Crussell concertos are quite imaginative, and share the musical
interest with the soloist, unlike so many concertos of the time. That is one feature that impressed
me.
>Thank you for the CD suggestions, I will find and listen to them very soon.
You'll enjoy them imensely, I am certain. And Billman is a fine player, too.
> While it is true that some composers "noodle" a bit when they write for
>their own instruments, I find that many of them (Paganini(violin),
>Cavallini(clarinet), Listz(piano), Schumann(piano), Rabath(double bass),
>Eric Mandat(clarinet), to only name a few.) feature much more interesting
>and developed music than the composers who cannot master the instrument as
>well.
Yes, they are exceptional. I was thinking more of the minor composers who turnecd out by the TON
those opera fantasias and variation sets. I was looking for music by Robert Sidney-Pratten, the
English flute virtuoso, who was marriied to Queen Mary's famous guitar player. In the British
Library are nearly 100 of these operatic fantasias. But Vester in his bibliography of flute music
only lists one work by Sidney-Pratten, and has a note that his bibliograohy omits the many operatic
fantasias.
That's why I say they were turned out by the ton. Lots of noodles, you could start a C hineese
restaurant. Fenwick Smith, a flutist in the Boston SO, includes one of those operatic fantasias on
his annual recital. They are really fun pieces, and he plays them with tongue in cheek, so to
speak. But he can really play them. You think the height of virtuosty has been reached, and there's
still oine more variation. I guess our piece is that Rigoletto fantasia by <????> that we all
played when we were teenagers.
> I also think this is the way instrumental techniques evolved into
>what they are today. I beleive for instance that this may be one of the
>reasons why Crussell's clarinet music seems more developed and virtuoso than
>Weber's. As far as using the term "superior" to qualify Crussell's music in
>comparaison to Weber's, I do not beleive it is a blasphemy but think that
>is may be raw conclusion for a comparaison which is'nt necessarily fair.
>For instance, should we compare Crussell's operas (which I do not know of
>any) to Weber's, we would probably attribute the "superior" to Weber's
>compositions rather than Crussell's. In that way, I can see why some
>people could be offended by your "blasphemy" but on the other hand, I
>perfectly understood the meaning of your comment and therefore absolutely
>agree with you. I find you comments rather interesting and enjoy reading
>you.
Yes, I just put that in for shock value. I do believe that Crussell's clarinet concertos are major
works for the instrument, mainly because of the high quality of musicoality. But for the great
masterworks, we have to turn to non-cl;arinetists, don't we: Mozart, Schumann, Brahms, Reger,
Nielsen, Stravinsky, Bartok, Hindemith, Copland.
By the way, the original manuscript for the Brahms' sonatas was recently auctioned and fetched
something like $250,000 and was sold to some anonymous collector (investor?). A few pages were
reproduced, and it's interesting the changes that Brahms and Muehfeld made. I think some of the
original readings are better than what Brahms ended up with. How I wish I could see the entire
manuscript.<sigh> It would be so interesting to hear Brahms's "first thoughts." But that also
poses an ethical problem. Is it proper to play what a composer rejected?
Beau Gus
martin.be...@googlemail.com
Can you explain to me why you thin the cartellieri double concerts second clarinet might have originally been written for bassetclarinet?
Do you know somebody who could rewright it for bassetclarinet?
Yours
Martin Bewersdorff, Dortmund, Germany
Fred McKenzie
> Hi,
> Can you explain to me why you thin the cartellieri double concerts second
> clarinet might have originally been written for bassetclarinet?
> Do you know somebody who could rewright it for bassetclarinet?
You appear to be responding to a thread from January, 2005, that
concerns a different subject. You may get a better response if you
start a new thread.
Isn't the Bassett Clarinet in the key of F? Unless the second Clarinet
part has very high notes, you should be able to simply transpose the
part to the new key. It just takes a little time, regardless of who
does it.
If you are interested, there are computer programs that you can use to
produce printed parts. These programs should be able to do the
necessary transposing once you have entered the part you have.
Three commercial music notation programs are Forte, Sibelius and Finale.
These programs are elaborate, and are rather expensive for your needs.
I do not know if the free programs can transpose, but you can try them
and find out.
A free program available for Macintosh and Windows is called "Denemo".
If you want to try it, go to <http://www.denemo.org/>.
A free program for Macintosh is called "MuseScore". If you want to try
it, go to <http://musescore.org/>.
Fred