Clarinet Concerto Research Articles

Aaron Copland: A Discography of the Composer's Performances

AARON COPLAND took part, as pianist, in what seem to have been the very first recordings ever made of his music, and his participation at the keyboard has continued to be a feature of many recordings during the thirty-five years since. Beginning in 1947, he has pursued an active career as conductor too, but he notes in his autobiographical sketch1 that not until 1956 did he accept a conducting engagement in the United States. However, he began to conduct for records as early as 1950 (the first recording of the Clarinet Concerto), and in recent years has produced a fairly comprehensive documentation of his music in official recordings. The listing that follows provides a summary of his accomplishments to date in this area. A supplement lists recordings by the performers who gave premieres of Copland's music.

CLARINET AND PIANO

Journal Article CLARINET AND PIANO Get access Hoddinott, Alun, Concerto for clarinet and strings. Arrangement for clarinet and piano. ( Oxford University Press, 1964, 12s. 6d.) J. A. C. J. A. C. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume XLVI, Issue 4, October 1965, Pages 371-a–371, https://doi.org/10.1093/ml/XLVI.4.371-a Published: 01 October 1965

Concerto for Clarinet with Chamber Ensemble (1962)

Concerto for Clarinet with Chamber Ensemble (1962)

Concerto for Clarinet in A and Orchestra

Concerto for Clarinet in A and Orchestra

Concerto for Clarinet and Strings. Reduction for Clarinet and Piano

Concerto for Clarinet and Strings. Reduction for Clarinet and Piano

Gerald Finzi and the Solo Song

In recent years Gerald Finzi has produced lengthy works such as the setting of Wordsworth's “Intimations of Immortality” and the clarinet concerto which, together with the earlier violin concerto, show a definite grasp of composition in the more extended forms. Although neither these works nor the various pieces for chamber groups can be disregarded in a final estimate of the composer, it can be fairly confidently upheld that it is within the narrower confines of the solo song that Finzi has given us his best work up to the present time. This is not altogether surprising since his gifts are above all lyrical. To write a good song is no mean accomplishment; to find in song-writing, as Finzi has done, a definite personal expression and a consistent development of style is something which only a few composers either achieve or attempt.

The New in Music (Part 2)

In his Clarinet Concerto, composed in 1928, Carl Nielsen introduces his first movement with the following theme (quoted here in the C tonality of the repetition: