PHIBBS & MOZART JOSEPH PHIBBS second movement, a fast and unsettled type CLARINET CONCERTO of nocturne-fantasy whose principal thematic CLARINET CONCERTOS material is defined by a short recurring scalic Composer’s introduction figure in the clarinet which expands and transforms as the movement progresses. A Clarinet Concerto (2017) Joseph Phibbs (b. 1974) This 24-minute work is the result of a long and number of contrasting episodes allude to creative friendship with Mark van de Wiel, whose various non-classical traditions to which 1 I. Adagio – Allegro moderato [6.47] extraordinary expressive and technical scope – the clarinet is often linked, including Eastern 2 Cadenza [2.58] ranging from standard classical repertoire to European folk music, before the movement the most demanding contemporary works – in closes abruptly. 3 II. Allegro molto [6.08] large part shaped the work’s form and character. 4 III. Adagio [3.50] The third movement, a slow and at times 5 IV. Moderato - Doppio movimento [6.46] Comprising four movements, the work opens mournful vocalise, is reminiscent of the work’s with a slow introduction, the unfolding of the opening by way of its pared-down orchestral clarinet’s opening theme supported by soft, scoring, and features a simple repeated Clarinet Concerto in A major, K. 622 Wolfgang Amadeus Mozart (1756-1791) sustained strings. A type of rondo emerges, harmonic pattern over which the soloist 6 I. Allegro [12.37] signalled by a soft pizzicato ostinato in the ‘sings’ in an often impassioned and at times lower strings, over which the clarinet’s earlier strident manner. 7 II. Adagio [6.52] theme is transformed into a solitary, blues- 8 III. Rondo: Allegro [8.44] inspired refrain. The mood here is urban, Following without a break, the fourth movement snatches of dance rhythms accompanying the harks back to the urban-inspired world of Total timings: [54.44] soloist’s ever-expanding melodic gestures, while the first, though here with greater abandon. elsewhere a myriad of orchestral figuration Ever denser, rising chords in the orchestra (first in the woodwind, and later the strings) punctuate florid gestures in the clarinet, is suggestive of city lights. before leading to a faster coda. A syncopated MARK VAN DE WIEL CLARINET / BASSET CLARINET passacaglia emerges, inspired by its literal PHILHARMONIA ORCHESTRA (PHIBBS) A more lyrical theme appears towards the end meaning (‘street walk’), the soloist’s at times LONDON CHAMBER ORCHESTRA (MOZART) of the movement, before giving way to a fast wild, quasi-improvisatory lines weaving through CHRISTOPHER WARREN-GREEN CONDUCTOR coda. A cadenza serves as a bridge to the a constantly shifting orchestral backdrop, www.signumrecords.com - 3 - underpinned by the repeated bass line which WOLFGANG AMADEUS MOZART the lowest. This basset-clarinet was the orchestral sound, while the key of A major – characterises this form. This in turn accelerates CLARINET CONCERTO IN instrument for which Mozart originally composed as in the Piano Concerto K. 488 – seems, towards the end of the movement to form a A MAJOR, K. 622 both the concerto and the quintet, but it soon for Mozart, to have been associated with a faster ‘walking bass’, before a final ascending became obsolete. Also the manuscripts of certain characteristic tone-colour. Many flourish brings the work to a close. Often, throughout musical history, the supreme both works were lost, so the concerto was composers favoured a more classical purity artistry of a particular performer has inspired published in an adaptation (by an unknown of language in their late music, and of My thanks to Mark, the work’s dedicatee; the a composer to create some of his most editor) for orthodox clarinet. Here Mark van course one may wonder how Mozart would Philharmonia, at the suggestion of former distinctive works. Thus Mozart wrote his horn de Wiel plays a reconstruction of the original have continued had he lived beyond the age Managing Director David Whelton; and Malmö concertos for the cheese-monger Joseph basset-clarinet version. of thirty-five. However, we should guard Live Konserthus, at the suggestion of Per Leutgeb, Weber and Brahms composed glorious against the notion that Mozart was aware of Hedberg, Head of Programming, for their clarinet works for Heinrich Baermann and Mozart was the absolute professional in his impending death when he completed works generous support. The world and London Richard Mühlfeld respectively, and Britten treatment of every orchestral instrument, such as the Piano Concerto K. 595 or this premieres were given by Mark van de Wiel wrote numerous operatic roles and song-cycles showing deep understanding of the special Clarinet Concerto in 1791, because sketched and the Philharmonia under Edward Gardner especially for the tenor voice of Peter Pears. character and technique of each one. For material for the first movement of each on 4 and 5 November 2017 in the Anvil, instance, in this concerto he exploits the work actually dates from about three years Basingstoke, and the Royal Festival Hall, The last and greatest of Mozart’s several clarinet’s easy agility of movement from earlier. Anton Stadler gave the premiere in followed by the premiere by a non-professional wind concertos is the Clarinet Concerto, one extreme of its range to the other, often Prague on 16th October 1791. orchestra with the Oxford Symphony Orchestra completed only weeks before his premature requiring the soloist to leap between high under Robert Max on November 18. Mark also death. At this time he was inspired by the and low registers even on successive notes © Philip Borg-Wheeler gave the Nordic premiere with the Malmö outstanding musicianship of the clarinettist in a melody. Elsewhere alternating high and Symphony Orchestra under Alexander Shelley in Anton Stadler, composing this concerto – as low phrases occasionally suggest an operatic The wonderful gift of Mozart’s concerto March 2019. well as a trio with viola and piano, a quintet dialogue between soprano (or mezzo-soprano) permeates our lives as clarinettists, both as and obbligato parts in two operatic arias – and baritone (or bass). In common with other performers and teachers. Its emotional range, © Joseph Phibbs especially for him. Stadler, a close friend of works of Mozart’s last year – including The elegance, technical challenges and operatic Mozart and fellow-member of the Masonic Magic Flute and the final Piano Concerto in exploration of a wide range of voices and Lodge to which he belonged, had recently B flat, K. 595 – the Clarinet Concerto colours constantly inspire us. Throughout the developed a new type of clarinet with an combines a new degree of simplicity with first movement we can hear Mozart celebrating extension of four extra semitones to the limpid grace and transparency of texture. The his admiration for Stadler and his instrument register which particularly fascinated him – omission of oboes contributes to the mellower with a constantly developing melodic line - 4 - - 5 - moving from tenderness and yearning to home in the key of three sharps, a bright MARK VAN DE WIEL passages of considerable virtuoso display. counterpart to the three flats of the Magic Flute. The clarinet is established as a lyric soprano Thea King has pointed out the coded threes As principal clarinet of the Philharmonia from the outset, but soon starts to explore within this concerto - towards the end of the Orchestra, the London Chamber Orchestra, the its range in duet with itself as soprano and first movement the same music, in three sharps London Sinfonietta and as a well-known soloist, tenor or even soprano and baritone. The extra and using intervals of a third, is played in Mark van de Wiel performs at major venues range of the basset clarinet allows for dramatic three successive bars in three octaves. The throughout the world. He has appeared as contrasts of register, with frequent plunges landing of the third repetition at bar 333 can soloist with the Philharmonia (Ashkenazy, Gardner, from the upper register down to the lowest only be a code between the two friends, adding Järvi, Wilson), the London Sinfonietta (Atherton, notes, particularly in the central section which yet another level to this sublime concerto. But Brabbins, Knussen, Masson), and the LCO explores the world of Don Giovanni. The Adagio’s even with Mozart’s wonderful advertisements (Warren-Green, including a solo appearance theme offers a serenity which the clarinet can in the Concerto, Quintet and La Clemenza di at La Scala, Milan). Noted for performances portray perhaps better than any other wind Tito, the basset clarinet did not come into of contemporary music, Mark gave the world instrument, and its middle section presents general use, probably because of the technical premiere of the clarinet concerto by Joseph a succession of operatic voices - perhaps difficulties caused by the extra keywork and Phibbs (2017) which he jointly commissioned Donna Anna, Fiordiligi, Don Ottavio and the extra weight. A concerto fragment of 1792 with the Philharmonia and Malmö Live Konserthus, Leporello all appear together here. The bubbling intended for Stadler by Mozart’s pupil Süssmayr the world premiere of the Van der Aa concerto rondo theme of the finale, with its uses an even wider full four octave range, Hysteresis (2014), commissioned for him by the © Timothy Ellis characteristic 3 repeated notes (a reference but it took another 176 years before Sir London Sinfonietta, and the world premiere of to a Masonic knock, perhaps?) launches a Harrison Birtwistle expanded it one semitone Morgan Hayes’s concerto Dark Room, commissioned and Debussy and Busoni in São Paulo with wide ranging movement of high spirits and further in his Linoi of 1968, written for for him by Jouko Heikura. He has given several the Orquestra de Campinas (Toro).