Carl August Nielsen (9 June 1865 - 3 October 1931) was a Danish composer, conductor and violinist, widely recognized as his country's most prominent composer.
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Clarinet Concerto, Op. 57 (1928)
Dedication: Aage Oxenvad
1. Allegretto un poco (0:00)
2. Poco Adagio (8:19)
3. Allegro non troppo (13:24)
4. Allegro vivace (20:16)
Mark van de Wiel, clarinet and the Philharmonia Orchestra conducted by Paavo Järvi
The Clarinet Concerto was conceived during the most difficult period in Nielsen's life. He was sixty-three, and had achieved considerable renown throughout Scandinavia; yet he was disappointed that his music had not reached a wider audience, he was deeply concerned with the unsettled state of the world, and he knew that his days were numbered. Perhaps this accounts for the bitter struggle which occurs throughout this concerto-a war between the tonalities of F major and E major. Every time hostilities seem to be at an end, a snare drum incites the combatants to renewed conflict. Another explanation for this is that the clarinetist for whom he was writing the concerto had a bi-polar disorder. Therefore, the concerto was poking fun at his constant mood swings
Eschewing the large classical concerto form, Nielsen has cast the Clarinet Concerto in one continuous movement. It begins with a firm Allegretto un poco, relieved by a somewhat more songful second theme. There is much stormy strife between the soloist and the orchestra and between the two principal competing keys. This is followed by a Poco adagio, interrupted several times by quicker, more disturbed sections. The final part is an energetic Allegro vivace, but a return to the Adagio brings the work to what Robert Simpson calls an ending of "calm severity," with the key of F major ultimately triumphant.
In his admirably thorough study of Carl Nielsen and his music, Robert Simpson points out what inventive use the composer made of tonality, and this at a time when other composers threw it over for atonality.
Despite the storm and stress in the concerto, the composer has kept his forces down almost to chamber music proportions. In addition to the solo clarinet, the only other instruments called for in the score are two bassoons, two horns, snare drum and strings. Because of the prominence of the snare drum line in the piece, a snare drum is still called for in the piano reduction.
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