Reclaiming clarinet repertoire: the reconstruction and performance of a selection of rediscovered clarinet concertos composed during the classical era

[摘要] This study was undertaken to explore a practical solution for the lack of acomprehensive selection of clarinet concertos written during the Classical period inWestern music. The study ultimately fulfilled its objective through the rediscovery,editing, and performance of previously unpublished or lesser-known Classical clarinetconcertos, thereby supplementing the era's repertoire choice for the modern clarinetplayer.The study commenced with identifying a list of unpublished Classical clarinet concertomanuscripts by visiting archives and searching through catalogues in Europeancountries, such as Switzerland, Germany, and Italy. The vast majority of the centuriesoldmanuscripts were either incomplete or severely worn by age. Therefore, theprimary criteria for initial consideration was the completeness, accuracy, and legibilityof the available manuscripts. The shortlist of possible concertos was then preliminarilytranscribed, and tested by me for playability, potential performance appeal, andacademic value. After consulting with several renowned early clarinet researcherssuch as Eric Hoeprich and Albert Rice, four concerto manuscripts were selected fromthe preceding shortlist. These concertos included the Concerto for Clarinet in A andViolin by Franz Xaver Hanisch; the Clarinet concerto in B-flat by Joseph ChristianWillibald Michl; the Concerto for two clarinets in E-flat major by Josef Mysliveček; andthe Concerto for Clarinet in B-flat by Franz Tausch.The entirety of the transcribing and editing process was guided by a thorough literaturestudy in the field of Historically Informed Performance Practice (HIP), as well as thehistory of the instrument and composers. The critically examined theoretical andmethodological HIP frameworks included contributions by scholars such as John Buttand Richard Taruskin. The historical integrity of the study was additionally ensured byconsulting applicable literature by researchers such as Rice, Hoeprich, Pearson, andLawson.The final editing of the scores was the result of my unusual choice to publish theconcertos with string quartet accompaniment, instead of full orchestra. This decisionwas strongly influenced by the limited availability of local resources such as venues,professional musicians, proper instruments, and general funding. The string quartet option alleviated these issues whilst supporting the continual aim of this study, i.e. toallow previously inaccessible concertos to be readily available for performance andwithin reach of as many performers, who can meet the interpretive demands of theedited concertos, as possible.The edited concerto scores were exported as pdf files using the Sibelius score writerprogram. These scores were then distributed by me (an experienced early clarinetplayer) and the University of the Free State's Odeion String Quartet for rehearsals andfinal review. The concerto editions were then completed, and a well-receivedperformance of each followed. The subsequent success of the concerto performancesreinforced the idea that producing scores for smaller settings allow for moreperformance possibilities, regardless of various financial and demographic limitations.Ultimately, four concertos were identified, edited, and performed. There are still myriadless-known, less frequently performed Classical clarinet concertos that remainunpublished or that are no longer in print, with which clarinettists should ideally be ableto expand their repertoire and knowledge. It is hoped that the present study may serveas an inspiration for more editions of such concertos to be prepared. Finally, thestudy's contribution to the available Classical clarinet repertoire has the potential tostimulate a reconsideration of the established repertoire, such as the Mozart ClarinetConcerto, thereby helping to reinvigorate clarinettists' historical-contextualinterpretational skills.

[发布机构] University of the Free State