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Clarinet Concerto no. 2 E flat major op. 74

序文

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. All three were written during a 4. 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 Ger... 続き

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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.

1786Born in Eutin on November 18 or 19. Journeyman years with the “Webersche Schauspielergesellschaft,” a wandering acting troupe. He plays smaller roles for children.
1797The troupe comes to Salzburg, where he studies composition with Michael Haydn from 1798.
1800Premiere in Freiberg of his first Romantic, comic opera, “Das Waldmädchen” (“The Forest Maiden”).
beginning 1803Years of study in Vienna with Georg Josef Vogler.
1804–06First appointment as music director in Breslau (Wrocław).
1810Premiere in Frankfurt am Main of the Romantic opera “Silvana.” Piano Concerto No. 1 in C major, Op. 11.
1811Clarinet 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.
1813–16Opera director and music director of the Estates Theater in Prague. From 1817 onward,courtl music director in Dresden.
1819Piano 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.
1821Premiere 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.
1823Premiere in Vienna of “Euryanthe,” Op. 81.
1826Premiere in London of “Oberon.” Death in London on June 5.

© 2003, 2010 Philipp Reclam jun. GmbH & Co. KG, Stuttgart

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Norbert Gertsch (校訂)

Dr. Norbert Gertsch, born in 1967 in Rheinkamp/Moers, studied piano solo at the Mozarteum in Salzburg and read musicology and philosophy at the Paris Lodron University in Salzburg and the Ruperto Carola University Heidelberg on a scholarship from the “Studienstiftung des Deutschen Volkes”. In 1996 he wrote his doctoral thesis on Ludwig van Beethoven’s Missa solemnis (as part of the New Complete Edition) under Ludwig Finscher.

In the following year, he began to work at G. Henle Publishers, initially as an editor for electronic publishing. After working on a two-year project (1999–2000) sponsored by the German Research Foundation (DFG) preparing a new Beethoven Catalogue of Works, he became a scholarly editor at G. Henle Publishers. In 2003 he became Editor-in-Chief, in 2009 Deputy Managing Director and Head of Publishing. As of 1 January 2024, the Executive Board of the Günter Henle Foundation has appointed Dr. Norbert Gertsch, as the new managing director, succeeding Dr. Wolf-Dieter Seiffert.

Gertsch has published many Urtext editions for G. Henle Publishers, including volumes for a new edition of Beethoven’s Piano Sonatas together with Murray Perahia.

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Johannes Umbreit (ピアノ・スコア)

Prof. Johannes Umbreit studied the piano at the Musikhochschule in Munich. From 1987 onwards he was a regular accompanist at courses given by Wolfgang Schneiderhan, Thomas Brandis, Ljerko Spiller, Igor Ozim, Olga Woitowa, Ernő Sebestyén, Walter Nothas, F. Andrejevsky, Denis Zsigmondy and Zakhar Bron amongst others. He has appeared in numerous radio and TV broadcasts and plays chamber music with members of the Bavarian State Orchestra, the Munich Philharmonic Orchestra and the Bavarian Radio Symphony Orchestra.

He is on the jury of different international competitions and has been invited to several international music festivals. Umbreit was a teacher for almost ten years at the Musikhochschule in Munich and at the same time a lecturer for chamber music and piano accompaniment at the Richard Strauss Conservatory. Since 2008 he has been a lecturer at the Hochschule für Musik und Theater München. As the long-serving managing director of the Richard-Strauss-Gesellschaft, he was made an honorary member of the board in 2009. In May 2011, the Bavarian Minister of Culture appointed Johannes Umbreit an honorary professor of the Hochschule für Musik und Theater München on the suggestion of its academic senate.

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.

I Fiati, 2004

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).

VdM Literaturempfehlungen, 2004

Mit diesen ansprechenden Editionen beendet Henle ein langes Warten. Und das Warten hat sich gelohnt.

Schweizer Musikzeitung, 2004

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.

Music Teacher, 2004

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