Reclaiming clarinet repertoire: the reconstruction and performance of a selection of rediscovered clarinet concertos composed during the classical era
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Date
2018-01
Authors
Strydom, Danre
Journal Title
Journal ISSN
Volume Title
Publisher
University of the Free State
Abstract
This study was undertaken to explore a practical solution for the lack of a
comprehensive selection of clarinet concertos written during the Classical period in
Western music. The study ultimately fulfilled its objective through the rediscovery,
editing, and performance of previously unpublished or lesser-known Classical clarinet
concertos, thereby supplementing the era’s repertoire choice for the modern clarinet
player.
The study commenced with identifying a list of unpublished Classical clarinet concerto
manuscripts by visiting archives and searching through catalogues in European
countries, such as Switzerland, Germany, and Italy. The vast majority of the centuriesold
manuscripts were either incomplete or severely worn by age. Therefore, the
primary criteria for initial consideration was the completeness, accuracy, and legibility
of the available manuscripts. The shortlist of possible concertos was then preliminarily
transcribed, and tested by me for playability, potential performance appeal, and
academic value. After consulting with several renowned early clarinet researchers
such as Eric Hoeprich and Albert Rice, four concerto manuscripts were selected from
the preceding shortlist. These concertos included the Concerto for Clarinet in A and
Violin by Franz Xaver Hanisch; the Clarinet concerto in B-flat by Joseph Christian
Willibald Michl; the Concerto for two clarinets in E-flat major by Josef Mysliveček; and
the Concerto for Clarinet in B-flat by Franz Tausch.
The entirety of the transcribing and editing process was guided by a thorough literature
study in the field of Historically Informed Performance Practice (HIP), as well as the
history of the instrument and composers. The critically examined theoretical and
methodological HIP frameworks included contributions by scholars such as John Butt
and Richard Taruskin. The historical integrity of the study was additionally ensured by
consulting applicable literature by researchers such as Rice, Hoeprich, Pearson, and
Lawson.
The final editing of the scores was the result of my unusual choice to publish the
concertos with string quartet accompaniment, instead of full orchestra. This decision
was strongly influenced by the limited availability of local resources such as venues,
professional musicians, proper instruments, and general funding. The string quartet option alleviated these issues whilst supporting the continual aim of this study, i.e. to
allow previously inaccessible concertos to be readily available for performance and
within reach of as many performers, who can meet the interpretive demands of the
edited concertos, as possible.
The edited concerto scores were exported as pdf files using the Sibelius score writer
program. These scores were then distributed by me (an experienced early clarinet
player) and the University of the Free State’s Odeion String Quartet for rehearsals and
final review. The concerto editions were then completed, and a well-received
performance of each followed. The subsequent success of the concerto performances
reinforced the idea that producing scores for smaller settings allow for more
performance possibilities, regardless of various financial and demographic limitations.
Ultimately, four concertos were identified, edited, and performed. There are still myriad
less-known, less frequently performed Classical clarinet concertos that remain
unpublished or that are no longer in print, with which clarinettists should ideally be able
to expand their repertoire and knowledge. It is hoped that the present study may serve
as an inspiration for more editions of such concertos to be prepared. Finally, the
study’s contribution to the available Classical clarinet repertoire has the potential to
stimulate a reconsideration of the established repertoire, such as the Mozart Clarinet
Concerto, thereby helping to reinvigorate clarinettists’ historical-contextual
interpretational skills.
Description
Keywords
Thesis (Ph.D. (Music))--University of the Free State, 2018, Clarinet, Concerto, Classical era, Historically informed performance practice, History of the clarinet, Editing scores, Rediscovered concertos, Manuscripts, Transcribing scores, Performing classical repertoire