Concerto for Clarinet and Wind Ensemble

Concerto for Clarinet and Wind Ensemble 2017-03-08T19:50:53+00:00

Project Description

Solo Clarinet and Wind Ensemble
2014
25 min.
Grade 6

Buy Score and Parts

Listen Now

Myroslava Hagen, clarinet, University Of Utah Wind Ensemble, Scott Hagen, cond.. On the album The Music Of David Maslanka, Vol. 2 (2016)

Dawn Lindblade, clarinet, University of Central Oklahoma Wind Ensemble, Brian Lamb, cond.

Myroslava Hagen, Clarinet, University of Utah Wind Symphony, Scott Hagen, cond.
Premiere Performance: 26 February 2015, Libby Gardener Concert Hall at the University of Utah

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Preview Score

Instrumentation

Solo Cl Picc Fl-2(2»AFl) Ob-2 BbCl-2 BCl CbCl Bsn-2 SSx ASx TSx BSx Hn-2 Tpt-2 Tbn-2 Euph Tuba DB Pno Timp Perc-5

  • Solo Clarinet in B♭
  • Piccolo
  • Flute (2) (2 doubles Alto Flute)
  • Oboe (2)
  • Clarinet in B♭ (2)
  • Bass Clarinet in B♭
  • Contrabass Clarinet in B♭
  • Bassoon (2)
  • Soprano Saxophone
  • Alto Saxophone
  • Tenor Saxophone
  • Baritone Saxophone
  • Horn in F (2)
  • Trumpet in B♭ (2)
  • Trombone (2)
  • Euphonium
  • Tuba
  • Double Bass
  • Piano
  • Timpani
  • Required Percussion (5 players)
    • Vibraphone
    • Marimba
    • Suspended Cymbal (lg.)
    • Crotales
    • Hi-hat Cymbal
    • Xylophone
    • Tam-tam
    • Bass Drum
    • Wood Blocks (1 sm., 1 lg.)
    • Glockenspiel
    • Snare Drum (1 sm., 1 med.)
    • Bass Drum
    • Triangle (lg.)
For wind ensembles and concertos, please use one player per part. For symphonies and concert pieces, more players may be used as desired. David’s full statement.

Movements

  1. Lamentation
  2. Dance

Commissioned by

Commissioned by Myroslava Hagen and the University of Utah Wind Ensemble, Scott Hagen, cond.

Premiere

26 February 2015 by Myroslava Hagen, Solo Clarinet, and the University of Utah Wind Ensemble, Scott Hagen, cond. at the Libby Gardener Concert Hall at the University of Utah

Description

This concerto is in two large movements, having relationship to old forms such as the toccata and fugue – a free improvisatory movement followed by a rhythmically energized and formally strict second movement.

The expressive antecedents are more Romantic – composers such as Franz Liszt and Carl Maria von Weber – powerful expression and a ripping-good technical challenge for the soloist.

Program Note 1

While this concerto is distinctly a modern piece it has strong Classical and Romantic antecedents. The Classical elements are the simple title, which offers no sense of story, the movement titles “Lamentation” and “Dance”, which are only very general indications of attitude, and the very direct formal construction, particularly of the second movement. I might even say that formally the piece harkens back to the Baroque toccata and fugue – a free improvisatory movement followed by a strictly formal and rhythmically energized second movement.

The Romantic elements are in the qualities of expression. I have long counted Franz Liszt as a spiritual ancestor, and as a young clarinetist I made my way through the concerto pieces of Carl Maria von Weber – lots of notes, speed, and powerful personal expression in both these composers.

And yet this is very much a piece of our time. We are going through a major world change, possibly the major world change, with technological advances whipping us along at incredible speeds. With the advent of instant communication and information we are at last beginning to see and understand the human race as one entity, and in immediate relationship with the rest of creation. This huge shift requires intense dream time, especially conscious dream time, and music powerfully opens this dream space. “Lamentation:” a deep mourning as we view our personal troubles, and the troubles of the world; “Dance:” a springing leap forward into a new world.

Program Note by David Maslanka

Program Note 2

The Concerto for Clarinet and Wind Ensemble grows out of my life-long association with the clarinet. It was my beginning instrument over sixty years ago, and has stayed with me all through the years. I have written many pieces for it, and it is now a deeply personal voice through which my music speaks freely and passionately.

This concerto is full of deep feeling, but it does not have a personal story. The two movements, “Lamentation” and “Dance,” present the classic masks of tears and laughter. “Lamentation” is very interior and very beautiful – it breaks my heart. “Dance” unfolds in the old sonata form with clear melodies, a bubbling and sometimes urgent energy, and a final release into beautiful quiet.

Program Note by David Maslanka

Further Reading

8 Questions for David Maslanka

2 January 2016|0 Comments

The following is from an email exchange with Natasha Rotondaro, a grade 12 student from Emily Carr Secondary School in Vaughn, Ontario Natasha Rotondaro: What is your musical background? David Maslanka: I began clarinet studies [...]

Thoughts on Composing

6 April 1998|0 Comments

Excerpts from letters to young composers You ask about the soul nature of music, and are music and soul the same thing. Music is one of the expressions of soul. A person does not have [...]

Interview with Russell Peterson

2 April 1998|1 Comment

Russell Peterson, professor of saxophone at Lawrence University in Appleton WI, interviewed David Maslanka on 30 November 1998 after premieres of Mountain Roads for saxophone quartet, commissioned and performed by the Transcontinental Saxophone Quartet and [...]

Composing and its relationship to the community

16 March 1993|0 Comments

I want to talk a bit about the composing process and its relationship to community. I have recently been reading Gerard Manley Hopkins, the great nineteenth-century English poet. Hopkins speaks of the “particularity” of each [...]