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INTERPRETATIVE CONSIDERATIONS IN THE CONCERT NO.1 FOR CLARINET AND ORCHESTRA COMPOSED BY CARL STAMITZ

Doru Albu, D. Paicu

Abstract

In this study we propose to decode and to highlight the most important stylistic and interpretative landmarks of the Mannheim School, with emphasis on Concerto no. 1 for clarinet and orchestra, composed by Carl Stamitz. Carl Stamitz is considered the first composer which composed an impressive number of concerts for the clarinet – 11 concerts – with a special melodic quality and difficult technical problems for that time. However, little is known about his work. Alongside of the concerts no. 10 and 11, Concerto no. 1 for clarinet and orchestra is a concert with a high degree of difficulty and a very valuable thematic material. In the original form, the concert was written for clarinet in B, afterwards the solo part of the clarinet was transposed with a tone above, for clarinet in and Bb, which considerably increases its difficulty. In this concert, C. Stamitz optimally combines the virtuosity issues, which take place in the acute register, with his usual melodiousness, in a perfect lyricism. Through ambitus, big intervals and virtuosity passages, the concert is difficult to interpret, and it is a challenge for the soloist. Interpreted correctly, Concerto no. 1 for clarinet and orchestra by Carl Stamitz impresses with musicality and virtuosity.

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