Now the Concertino and the First Clarinet Concerto are about to be followed by Weber’s Second Concerto in E-flat major, edited by Norbert Gertsch. Once again, the piano reduction contrasts the original solo part with the widely known version by Carl Bärmann (both parts are separately enclosed). The accompanying preface offers a detailed explanation of the importance of both versions and how they interrelate.
Carl Maria von Weber produced three works for clarinet and orchestra: the Concertino, op. 26, and the concertos in F minor, op. 73, and E-flat major, op. 74. 4. All three were written during a lengthy visit to Munich in 1811. The twenty-four-year-old composer, still many years away from his triumphant breakthrough with Der Freischütz in 1821, had been traveling through Germany … more
About the composer
Carl Maria von Weber
One of the most important German opera composers before Wagner, he advocated for a German opera through his own output and in his writings. His fame is predicated on “Der Freischütz,” which was received emphatically as a German nationalist opera. His instrumental works (orchestral pieces, solo concerti, chamber music, piano works) are largely based on Classical models though already anticipate the Romantic sound.
|1786||Born in Eutin on November 18 or 19. Journeyman years with the “Webersche Schauspielergesellschaft,” a wandering acting troupe. He plays smaller roles for children.|
|1797||The troupe comes to Salzburg, where he studies composition with Michael Haydn from 1798.|
|1800||Premiere in Freiberg of his first Romantic, comic opera, “Das Waldmädchen” (“The Forest Maiden”).|
|beginning 1803||Years of study in Vienna with Georg Josef Vogler.|
|1804–06||First appointment as music director in Breslau (Wrocław).|
|1810||Premiere in Frankfurt am Main of the Romantic opera “Silvana.” Piano Concerto No. 1 in C major, Op. 11.|
|1811||Clarinet Concerti No. 1 in F minor, Op. 73, and No. 2 in E-flat major, Op. 74, commissioned by Maximilian of Bavaria; in 1812, Piano Concerto No. 2 in E-flat major, Op. 32.|
|1813–16||Opera director and music director of the Estates Theater in Prague. From 1817 onward,courtl music director in Dresden.|
|1819||Piano pieces: “Rondo brillante” in E-flat major, Op. 62; “Aufforderung zum Tanze” (“Invitation to the Dance”) in D-flat major, Op. 65; “Polacca brillante” in E-flat major, Op. 72. Trio in G minor for piano, flute, and cello, Op. 63.|
|1821||Premiere in Berlin of his Romantic opera “Der Freischütz,” Op. 77; it is received as an archetypal German opera due to its subject matter and music, although it integrates German, French, and Italian elements. Konzertstück in F minor for Piano and Orchestra, Op. 79, which paves the way for one-movement concerto compositions in the nineteenth century.|
|1823||Premiere in Vienna of “Euryanthe,” Op. 81.|
|1826||Premiere in London of “Oberon.” Death in London on June 5.|
About the authors
Si tratta quindi di un’ edizione di grandissima utilità per gli studenti, ma anche per tutti quegli insegnanti che non ancora erano al corrente di come questo concerto, e anche gli altri concerti weberiani fin qui pubblicati dalla Henle, abbiano subito tanti cambiamenti e passaggi, dal manoscritto di Weber alle edizioni di Carl Baermann fino alle tante edizioni fuorvianti dei giorni nostri.
Sehr interessante Gegenüberstellung und Quellenforschung der beiden Solostimmen (Urtext und Stimme nach Carl Bärmann). Im Vorwort finden wir dazu ausführliche und interessante Darlegungen. Gutes Layout. … (sehr empfehlenswert).
Mit diesen ansprechenden Editionen beendet Henle ein langes Warten. Und das Warten hat sich gelohnt.
Henle fans might also want to look at their edition of the Weber Concerto No 2 (op. 74). ... The piano part shows both versions. It is also interesting to note how it differs from other publications on the market that lack Henle's research.