KROMMER DOUBLE CLARINET CONCERTO PDF

Digital services Spotify. By coincidence, he happenned to be the last musician to have held the post. After his death it was never again occupied. His contribution to the musical spectrum of theViennese Classical school consisted in an invigorating stream of vitality which he inherited from his rustic ancestors, combined with a tender lyrical strain free from excessive sentimentality, and a sharp sense of humour. An important and highly original section of Krommer's compositional legacy is represented by his works for clarinet, the most resourceful of all woodwind instruments in terms of playing technique potential and tone range alike, and an instrument which became safely established on the concert platforms only in the Classical era. Immaculate orchestration and skilful contrapuntal work turns Krommer's clarinet output to a substantial asset for the history of clarinet literature, ranking them with all justice alongside compositions of Mozart and Weber.

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Concerto in E Flat Major, Op. Franz Vinzenz Krommer was born in Kamenice in , the son of an inn-keeper and later mayor of the town. In Franz Krommer went to Vienna, finding employment from there in the musical establishment of the Count of Styrum in Simontumya as a violinist, becoming, two years later, Kapellmeister. From he served as Kapellmeister to a certain Count Karolyi and from some point as Kapellmeisterto Prince Anton Grassalkovich de Gyarak, until the latter's death in From then onwards, returning to Vienna, he found increased favour among patrons, becoming Kapellmeister in about to Count Ignaz Fuchs.

His application to join the Vienna Hofkapelle as a violinist was rejected but in he was appointed Music Director of the Ballet at the Court Theatre. Three years later he followed Kozeluch as Imperial Chamber Kapellmeister and Court Composer, holding this position until his death in Franz Krommer was a prolific and highly respected composer, with a significant, popular and substantial addition to the string quartet repertoire.

His concertos include a number of works for his own instrument, the violin, and, now of greater interest, for wind instruments.

These last include two concertos for two clarinets. The first, the Concertante in E flat major, Opus 35, was published in , and the second, the Concerto in E flat major , Opus 91 , it is thought, in The Concerto in E flat major, Opus 36 , for solo clarinet was published in The two earlier works, Opus 35 and Opus 36 are classical in form and texture, coming, as they do, a mere ten years or so after Mozart's first novel exploration of the possibilities of the clarinet concerto for his friend Anton Stadler, although now there are suggestions of what younger contemporaries Spohr and Webermight make of it.

This is particularly evident in the solo writing of the latest of the three concertos, with its connotations of contemporary operatic practice and weightier scoring. There is no doubt that the three concertos still form a particularly delightful addition to the repertoire of the clarinet and of the late classical concerto. About this Recording 8. Close the window.

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