? Composed by Carl Maria von Weber 1786-1826. The main theme is introduced by the solo, with the piano interceding. The 1st movement typically lasts for approximately 8:30 minutes, the 2nd movement for approximately 7 minutes and the 3rd movement for between 6:30 and 7 minutes depending on the tempo. A coda appears after the minor key section, finishing off this movement. Suddenly the clarinet enters in E-flat major with a very virtuosic scale followed by numerous runs. The last movement consists of five clearly distinguishable sections, which introduce and develop five different themes. Unsourced material may be challenged and removed.
The theme of the scherzo is highly similar that of the scherzo in Brahms' from decades earlier. The full orchestra repeats the theme and introduces more motifs in the orchestral exposition. Once again, the piano reduction contrasts the original solo part with the widely known version by Carl Barmann both parts are separately enclosed. The beginning section returns but is highly varied. This is taken very freely with the clarinet and orchestra taking turns in playing.
As in all his orchestral works, 's mastery of color and tone is complete and his writing for the soloist is breathtakingly difficult but wholly idiomatic. This 3 octave jump, along with other large leaps, is stylistic of this movement. The movement finishes with a rather virtuosic clarinet part extending to the near limits of clarinet range. In this E-flat major section there is some very large leaps, one being 3 octaves and a tone at bar 56. This piece contains two versions of the solo part; one closely follows the original markings of Weber, and the other. The final section, the coda, is built on the main theme, but even here 398 Brahms presents a new element, restating the main theme in triple rhythm a device he used earlier to end his violin concerto over a little march, first played by the piano, then answered by the orchestra, which trades themes with the soloist before the final chords.
Soon afterwards the piano and orchestra launch into a stormy development of the theme before coming to the central episode in D major. The fourth section 309—376 reprises themes 3, 5 and 4, in that order. Set in three movements, the Concerto in E flat opens with a virtuosic Allegro, moves through a gloriously bel canto Andante Romanza, and closes with a playful Alla Polacca. Archived from on August 20, 2014. Theme 4 81—88 is still in a minor and theme 5 97—104 is in F major.
Measures 19-20 are regarded as one of the hardest fragments for clarinet repertoire because of the clarinet playing without orchestra with very fast leaps, all slurred. Once again the orchestra goes into a section in G major, which exactly imitates the previous section, also in G major. Work Title Clarinet Concerto No. It is in the C minor section when we begin to see short note values which adds to a very operatic style. After the most dramatic Concerto in F minor, the Concerto in E flat major revisits the more lighter and more lyrical world of the Concertino in E flat. The development, like many such sections in the Classical period, works its way from the dominant key back to the tonic while heavily developing themes. After the initial statement of the melody, the work moves into an orchestral section in G major which acts as a sort of extended dominant to C minor when the clarinet enters again.
The second section 65—164 contains the next three themes. This is in the key of and is in sonata form with a inserted in the development. The second theme 16—20 is likewise presented by the piano and repeated — and expanded — by the orchestra. The piano and orchestra work together to develop these themes in the piano exposition before the key changes to F minor from F major, the dominant and the piano plays a powerful and difficult section before the next orchestral tutti appears. Archived from on May 28, 2010.
The majority of the first half of the movement sits very comfortably in E-flat major before modulating to D-flat major where much of the previous clarinet melodic material is repeated. Register a Free 1 month Trial Account. Concerto No 2 Op 74 In E Flat Major For Clarinet In B Flat And Orchestra can be very useful guide, and concerto no 2 op 74 in e flat major for clarinet in b flat and orchestra play an important role in your products. The problem is that once you have gotten your nifty new product, the concerto no 2 op 74 in e flat major for clarinet in b flat and orchestra gets a brief glance, maybe a once over, but it often tends to get discarded or lost with the original packaging. The accompanying preface offers a detailed explanation of the importance of both versions and how they interrelate. Edited by Johannes Umbreit and Norbert Gertsch. The first section bars 1 to 64 presents themes 1 and 2.
The central episode is brisk and begins with the full orchestra before yet another quiet section intervenes; then the piano is integrated into the orchestral effect to repeat the theme of the central episode. Like the earlier works, wrote his Concerto No. These three themes are each repeated back and forth several times, which gives the section the character of a development. Finally, a kind of development of the first theme leads on to the next section. One motif repeated in the development has been noted by musicologists as bearing similarity to and , but it is unlikely Brahms knew of either hymn. Brahms began work on the piece in 1878 and completed it in 1881 while in near.