Clarinet Concerto

clarinet concerto

1. Allegro Moderato
2. Variazione al Rondo

I have scored the work for normal chamber orchestra (excluding clarinets), but the form of this concerto is not traditional, as there is no slow movement, or, more precisely, it does not occur in the traditional place.

The orchestral tutti before the soloist’s first entry contains all the musical ideas for the movement; to be noted are:

• The violas first phrase – a falling minor sixth, followed by a step-wise climb almost to the starting note.
• A series of upward leaping sixths.
• An obsession with the ninth, and chords based on the tonic, major seventh and ninth.

The orchestra deals with this material rather harshly, before handing it over to the soloist, who, with long phrases and a lyrical response to the ideas, takes control, never really gets cross, and can show off a little in the cadenza which, as I hate most cadenzas, is brief and lightly accompanied. The movement ends wistfully, with a hint of the first idea presented by two solo violins.

To follow the tranquil, lyrical coda of this first movement with a tranquil and lyrical slow movement seemed a poor solution. Instead I have attempted a set of variations encapsulated within several recurring rondo themes which bind the movement together.

The Theme is a perky twelve bar idea presented by the soloist, though not in its purist form, and the falling third (cuckoo call) is clearly heard.

Variation 1 is a full orchestral tutti.

Variation 2 develops the rhythmic possibilities of the theme and also introduces a pair of recurring “rondo themes” – the first of which is clearly based upon the main theme, the second a more seductive phrase in seven-eight and three-four time.

Variation 3 puts the soloists back in the driving seat and plants certain ideas which will be important in the Finale.

Variation 4 introduces another recurring theme – another derivative.

Variation 5 is scored for woodwind, and one horn, and the soloist, who teases them with his cuckoo calls.

Variations 6, 7 and 8 comprise the “missing” slow movement, which has its own internal structure: Andante – Allegretto – Andante con moto. The Allegretto presents a folk-like tune on the oboe with the theme as counterpoint. The Andante con moto, in A flat and E flat minor, includes a passionate orchestral tutti leading to:

The Finale, Variation 9. The recurring themes are further developed, and the soloist brings a new tune out of the hat, before reminding us of his original statement, and the horns briefly restate two bars from the first movement.

This concerto was commissioned by the Beauchamp Sinfonietta, with funds generously provided by Mercia Sound, the Coventry-based independent radio station serving Coventry and Warwickshire, to celebrate the seventieth birthday of one of England’s best-loved instrumentalists, Jack Brymer, to whom the work is dedicated.

Jack Brymer was the soloist at the first performance, which took place at the University of Warwick Arts Centre on 9th March 1985, with the Beauchamp Sinfonietta conducted by the composer.

In 1998 the composer arranged the last movement of this concerto, Variazione al Rondo, into a work for solo clarinet and wind ensemble: Rondo Variations.