An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria Von Weber

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An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber

A document submitted to

The Graduate School of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Performance Studies Division of the College-Conservatory of Music

2012

Wen-Mi Chen

B.M., Peabody Conservatory of Music of The Johns Hopkins University, 2000 M.M., Peabody Conservatory of Music of The Johns Hopkins University, 2003

Committee Chair: Steven Cahn, Ph.D. Committee Member: Ronald Aufmann, Professor Committee Member: Samuel Ng, Ph.D.

Abstract

Sonata Theory recognizes five types of sonatas based on their rotational designs. The first movement of most eighteenth-century concertos is classified as a Type 5 sonata (concerto movement) and is the most complicated sonata design due to the great variation that exists among individual Type 5 movements. This document contains a brief introduction to Hepokoski and Darcy’s Sonata Theory and a summary of the Type 5 sonata. Chapters two, three, and four are extensive studies and analyses of the clarinet concertos composed by Wolfgang Amadeus

Mozart, Louis Spohr, and Carl Maria von Weber. Comprehensive comparisons of these concertos are provided at the end of chapters three and four. Diagrams 2, 3, and 4 are the result of examining these concerto movements. They indicate the sections, zones, and modules of a sonata form in the movements. Appendix A is a list of terms and abbreviations that are used in the analyses. In addition, Hepokoski and Darcy’s Type 5 sonata default settings and options are included in Appendix B.

Wen-Mi Chen

2012

Acknowledgements

It would not have been possible for the completion of this document without the assistance and support of the kind people mention here.

I am sincerely and grateful to my committee Dr. Steven Cahn, Professor Ronald

Aufmann, and Dr. Samuel Ng for their profound knowledge, support, and guidance they showed me throughout my research. To those who supported the efforts for this document: Shirley

Longstreet and Christine Pass—thank you for your advice, hard work, and dedication.

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Table of Contents Introduction ...... 1

Chapter I. A Summary of Hepokoski and Darcy’s Sonata Theory—Type 5 Sonata ...... 2

Section 1. Overview of Type 5 Sonata ...... 5

Section 2. R1: The Opening Ritornello, R1 ...... 8

Section 3. Solo and Larger Expositions: Solo 1 + Ritornello 2 ...... 11

Section 4. Development and Recapitulation: From Solo 2 through Ritornello 4 ...... 14

Chapter II. Wolfgang Amadeus Mozart’s Clarinet Concerto, K. 622 ...... 17

Chapter III. Louis Spohr’s Clarinet Concertos ...... 29

Section 1. Clarinet Concerto No. 1 in C minor, Op. 26 ...... 31

Section 2. Clarinet Concerto No. 2 in Eb Major, Op. 57 ...... 43

Section 3. Clarinet Concerto No. 3 in F Minor, WoO 19 ...... 58

Section 4. Clarinet Concerto No. 4 in E Minor, WoO 20 ...... 73

Section 5. Conclusion ...... 83

Chapter IV. Carl Maria von Weber’s Clarinet Concertos...... 87

Section 1. Clarinet Concerto No. 1 in F Minor, Op. 73 ...... 88

Section 2. Clarinet Concerto No. 2 in Eb Major, Op. 74 ...... 101

Section 3. Conclusion ...... 111

Chapter V. Conclusion ...... 113

Appendix A. Terms and Abbreviations ...... 114

Appendix B. The Type 5 Sonata Default and Options ...... 115

Bibliography ...... 120

LIST OF MUSICAL EXAMPLES

Chapter II. Wolfgang Amadeus Mozart’s Clarinet Concerto, K. 622

Example 2.1 R1:\P (mm. 1-8); R1:\S1 (mm. 25-31) and R1:\S2 (mm. 31-39) ...... 19 Example 2.2 S1:\TR1.1, TR1.2, and TR1.3, is a case of sujet-libre transition (mm. 78-103) ...... 20 Example 2.3 Tri-Modular blocks (mm. 104-134) and Closing zone (mm. 134-140) within the S1 ...... 22 Example 2.4 S2, reference of P theme (mm. 172-176) ...... 24

Chapter III. Louis Spohr's Clarinet Concertos

Example 3.1 R1:\P0 (mm. 1-5) ...... 32 Example 3.2 P theme within the S1 (mm. 23-34) ...... 33 Example 3.3 TI1 and TR1.1 (mm. 40-50); TI2 (mm. 55-60); TR1.2 (mm. 61-63); TR1.3 (mm. 69-72); and S theme (mm. 88-92)...... 34 Example 3.4 S1.2 (mm. 101-105) ...... 36 Example 3.5 S theme (mm. 88-89) and the opening melody of Solo 2 (mm. 151-154) ...... 37 Example 3.6 The opening of S2 (mm. 151-169) ...... 38 Example 3.7 S2 section (mm. 181-193) ...... 38 Example 3.8 Subtype B in Spohr’s Clarinet Concerto No. 1, Op. 26, 1st movement ...... 40 Example 3.9 R1:\P (mm. 1-8) ...... 44 Example 3.10 R1:\TR1.1 (mm. 9-13); R1:\TR1.2 (mm. 20-26); R1:\MC (mm. 35-42) ...... 44 Example 3.11 R1:\S (mm. 44-51) ...... 45 Example 3.12 R1:\TR1.2 (mm. 90-92) and TI (mm. 100-102) within the S1 ...... 47 Example 3.13 DE1.1 (mm. 141-142)...... 48 Example 3.14 R2 (mm. 158-180)...... 48 Example 3.15 R2 to S2 (mm. 178-186) ...... 50 Example 3.16 S2 (mm. 199-206) ...... 51 Example 3.17 S2 (mm. 216-240) ...... 52 Example 3.18 Subtype C in Spohr’s Clarinet Concerto No. 2, Op. 57, 1st movement ...... 54 Example 3.19 R1:\S (mm. 15-39) ...... 59 Example 3.20 R1 (mm. 1-58)...... 59 Example 3.21 R1:\P within the S1 (mm. 56-86) ...... 62 Example 3.22 S1:\TR (Sujet libre type of transition, mm. 93-96); DE (mm. 145-148) ...... 64 Example 3.23 MC within the S1 (mm. 102-116) ...... 65 Example 3.24 R2 (mm. 166-169)...... 66 Example 3.25 Central action (mm. 193-198) ...... 67 Example 3.26 Central action merges to RT, and continues to R3 (mm. 201-211) ...... 68 Example 3.27 R4 (mm. 307-317)...... 69 Example 3.28 Subtype A in Spohr’s Clarinet Concerto No. 3, WoO 19, 1st movement ...... 70 Example 3.29 Subtype A in Spohr’s Clarinet Concerto No. 4, WoO 20, 1st movement ...... 73 Example 3.30 R1:\P (mm. 1-8) ...... 73 Example 3.31 R1:\TR1.1 and R1:\TR1.2 (mm. 25-38) ...... 74 Example 3.32 R1:\S1.1 and S1.2 merges to C (mm. 44-62) ...... 75 Example 3.33 TR1.1, TR1.2 (new theme), and TR1.3 within the S1 (mm. 97-114); S theme...... 76

Example 3.34 S2 module (mm. 184-205) ...... 79

Chapter IV. Carl Maria von Weber's Clarinet Concertos

Example 4.1 R1:\P0 (mm. 1-11); R1:\TR1.1 (mm. 26-33); and R1:\C (mm. 38-47) ...... 89 Example 4.2 S1:\P1.1 (mm. 48-63) of Clarinet Concerto No. 1, Op. 73...... 90 Example 4.3 S1:\Ppreface (mm. 50-53) of Clarinet Concerto No. 2, Op. 74 ...... 91 Example 4.4 Piano Concerto No. 2, Op. 32, Ppreface (mm. 43-56) ...... 91 Example 4.5 TI within the S1 (mm. 74-83); last 10 measures of the 1st movement ...... 92 Example 4.6 S1:\P1.1 (mm. 48-55) and S theme (mm. 110-117)...... 93 Example 4.7 R2 (mm. 145-170)...... 94 Example 4.8 Central action and RT within the S2, and S3 (mm. 217-252) ...... 95 Example 4.9 Subtype C in Weber’s Clarinet Concerto No. 1, Op. 73, 1st movement ...... 98 Example 4.10 Subtype B in Weber’s Clarinet Concerto No.2, Op.74, 1st movement ...... 101 Example 4.11 R1:\P; R1:\TR1.2 (mm. 18-26); and R1:\S (mm. 30-39) ...... 102 Example 4.12 S1:\Ppreface (mm. 50-53) and Sujet Libre type of TR within the S1(mm. 85-92) 103 Example 4.13 S2 Episodic (mm. 151-167) ...... 105 Example 4.14 Central action (mm. 167-181); R1:\TR1 (mm. 14-15); RT (mm. 181-183) ...... 106 Example 4.15 Recapitulation (mm. 192-220); CF and S theme (mm. 29-30) ...... 107

LIST OF DIAGRAMS AND TABLES

Diagram 1.1 Six subtypes of the eighteenth-century Type 5 sonata, with particular reference to Mozart’s Concerto ...... 5 Diagram 1.2 R1 ...... 8 Diagram 1.3 S1 + R2 ...... 11 Diagram 1.4 S2 ...... 14 Diagram 1.5 S3 ...... 15 Diagram 1.6 R4 ...... 16 Diagram 2 Wolfgang Amadeus Mozart, Clarinet Concerto K. 622, 1st movement ...... 26 Diagram 3.1 Ludwig Spohr, Clarinet Concerto No. 1 Op. 26, 1st movement ...... 41 Diagram 3.2 Ludwig Spohr, Clarinet Concerto No. 2 Op. 57, 1st movement ...... 55 Diagram 3.3 Ludwig Spohr, Clarinet Concerto No. 3, WoO 19, 1st movement ...... 71 Diagram 3.4 Ludwig Spohr, Clarinet Concerto No. 4, WoO 20, 1st movement ...... 81 Diagram 4.1 Carl Maria von Weber, Clarinet Concerto No. 1 Op. 73, 1st movement ...... 99 Diagram 4.2 Carl Maria von Weber, Clarinet Concerto No. 2 Op. 74, 1st movement ...... 109 Diagram B.1 The Opening Ritornello...... 115 Diagram B.2 Solo and Larger Expositions: Solo 1 + Ritornello 2 ...... 116 Diagram B.3 Development and Recapitulation: From Solo 2 through Ritornello 4 ...... 117

Table 1 Length of Spohr’s Clarinet Concertos...... 83 Table 2 Weber’s concerto compositions ...... 87

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Introduction

Scholarly studies of clarinet concertos primarily involve the historical investigation of literature, instrumental writing style, collaboration between composers and clarinetists, performance practice, edition comparison, and recording guides. Very few essays examine the formal structure of a clarinet concerto, and the repertoire that has been explored is relatively narrow. There are ample studies of Mozart’s Clarinet Concerto and twentieth-century compositions by Carl Nielsen, Aaron Copland, and Elliott Carter. However, the works composed in the late Classical and early Romantic periods have not been studied thoroughly. Furthermore, the previous analyses of clarinet concertos present several problems in terms of understanding the structure of a concerto movement, determining the function of each section, and interpreting them with proper terminology. With the questions and problems raised from the existing clarinet concerto analytical literature, which includes incomplete and out of date analyses and the limited selection of repertoire, it is essential to reexamine Mozart’s Clarinet Concerto in depth, and to explore other early nineteenth-century concertos. I will also discuss the concertos composed by

Louis Spohr and Carl Maria von Weber: specifically, their formal structure in terms of Sonata

Theory—a comprehensive and novel analytical technique proposed by Hepokoski and Darcy.1 In addition, I will provide the early nineteenth century clarinet concerto literature review, a summary of Sonata Theory—especially the Type 5 sonata—analyses of concertos’ first movements, and the comparison of these works. My analyses will offer a critical reading of these clarinet concertos and will be useful insight for other clarinetists.

1 James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006). 1

Chapter I A Summary of Hepokoski and Darcy’s Sonata Theory—Type 5 Sonata

Sonata Theory is a recent analytical approach. Proposed by Hepokoski and Darcy, it offers a comprehensive method with which to investigate the structure of a concerto’s first movement.2 This methodology is not only novel to the clarinet research literature, but is also an adequate solution to the issues mentioned above. The Sonata Theory’s emphasis on the sonatas composed between 1750-1850 is an advantage in analyzing concertos by Mozart, Spohr, and

Weber.

Hepokoski and Darcy’s Sonata Theory is an extension of contemporary conceptions in sonata form that include: 1.) “eclectic analytical writing” by Donald Francis Tovey and Charles

Rosen; 2.) “ ‘historical-evidentiary-empirical’ concerns” from William S. Newman, Jan LaRue, and Leonard G. Ratner; 3.) Schenkerian linear-contrapuntal views and harmonic “interrupted” two parts form; and finally 4.) Arnold Schoenberg, Rudolph Réti, and William E. Caplin’s emphasis of motivic-growth and phrase-shapes.3 Sonata Theory incorporates the orthodox analytical notions of harmony, counterpoint, phrase, and rhythm, and introduces the novel concepts such as default, deformation, rotation, and others.

According to Hepokoski and Darcy, sonata form is not a set of rules or a fixed scheme.4

“Rather, it is a constellation of normative and optional procedures that are flexible in their realization—a field of enabling and constraining guidelines applied in the production and

2 Hepokoski and Darcy, 430-602.

3 Ibid., 3-6.

4 Ibid., 15.

interpretation of a familiar compositional shape.” 5 In confronting a work in the sonata form,

Hepokoski and Darcy seek “to determine which gestures in it were normative within the style, which were elaborate, elegant, or strained treatments of the culturally available norms, and which were not normative at all. Sonata Theory starts from the premise that an individual composition is a musical utterance that is set (by the composer) into a dialogue with implied norms. This is an understanding of formal procedure as dynamic, dialogic.”6 The deformations from the expected norms can be an aesthetically positive contribution to the interest of a piece that will also affect the progress of a piece as a whole. In conclusion, the Sonata Theory reconstructs what these norms were, based on an extensive study of the sonatas from the late eighteenth century.

Another important concept introduced by Hepokoski and Darcy is the rotational layout, which serves as a guide for understanding the order of musical ideas and the modular events in subsequent action spaces. For instance, in the development, recapitulation, and coda sections, the musical ideas are usually reprised in the same order as they appear in the exposition. Also, each section is expected to accomplish certain goals set by the composers. In addition, Hepokoski and

Darcy take the rhetorical layout into the consideration. The rhetorical layout of a sonata is a set of action spaces that are articulated by cadences and moments of structural punctuations. These action spaces include Primary-Theme zone (P), Transition (TR), Secondary-Theme zone (S),

Essential Expositional Closure (EEC), Retransition (RT), and Closing zone (C), and they correlate with the large scale schema—exposition, development, and recapitulation.

Finally, because each large scale schema contains several subdivisions, all modular identifiers in the Type 5 sonata are double-designations in the order of the section and zone- module; and a colon and a backslash separate the two halves. For instance, R1:\P represents the

5 Hepokoski and Darcy, 15.

6 Ibid., 10. 3

P-theme introduced within the first ritornello; R1:\ P1.2 indicates the second module of the P- theme introduced within the first ritornello; S1:\TR shows a new transition theme within the first solo section.7 The terms and abbreviations that are used in this document are included in

Appendix A. The following is the summary of Hepokoski and Darcy’s Type 5 Sonata.

7 Hepokoski and Darcy, 452-3. 4

Section 1. Overview of Type 5 Sonata

In the early eighteenth century, the idea of a concerto was based on the principle of alternating tutti-solo contrasts: the juxtaposition of a group and an individual soloist (or a smaller group), the tonic-centered ritornellos versus modulatory-virtuosic solo passages. In Hepokoski and Darcy’s Sonata Theory the orchestral ritornello is labeled R, for example R1, R2, R3, and R4.

The solo section is indicated as S, such as S1, S2, and S3. In a large scale framework, the first movement of a concerto from the eighteenth century, especially Mozart’s concertos, can be one of six subtypes below (Diagram 1.1).

Diagram 1.1 Six subtypes of the eighteenth-century Type 5 sonata, with particular reference to Mozart’s Concerto8

Subtype A: seven-part (four ritornello) format

R1 S1 R2 S2 R3 S3 R4 Soloist

Orchestra cadenza I I V V V vi vi I I I (ii, iii) i i III III III v v i i i (v, iv) (III, iv)

Subtype B: seven-part (four ritornello) format

(Material from R1 and S1)

R1 S1 R2 S2 R3 S3 R4 Soloist

Orchestra cadenza I I V V V x I I I

8 Hepokoski and Darcy, 437-438. 5

Subtype C: three-ritornello variant, suppressing or minimizing the potential tutti-effect (“R3” of Subtype B) at the tonic return (Material from R1 and S1)

R1 S1 R2 S2 [“S3”] R4 Soloist

Orchestra cadenza I I V V V x I I I Subtype D: Nine-part (four-ritornello) format, with an interior ritornello in the developmental space. (Material from R1 and S1)

R1 S1 R2 S2.1 R2.2 S2.2 R3 S3 R4 Soloist

Orchestra cadenza I I V V V x x I I I

Subtype E: Type 5 adaptation of the Type 2 (“binary”) Sonata

Another rotation of material from R1 and S1

“S3” R1 S1 R2 S2 tonal resolution R4 Soloist

Orchestra cadenza I I V V V x I I I usually similar usually parallel to to the opening the “second half” of S1 of S1 or R1:\S1 synthesis

Subtype F: Type 5 adaptation of the Type 1 Sonata; R2 proper may also be suppressed in favor of an “R3”-effect. (Material from R1 and S1)

R1 S1 R2 R3 S3 R4 Soloist or only “R3”- retransition

Orchestra [omit cadenza?] I I V V I I I usually the same may conclude the as the opening rotation or function of S1 as a coda

Subtypes A and B are particularly important. They are the ones most frequently encountered in Mozart’s concertos. Additionally, they are described by Koch in his famous

Versuch of 1793, which is the basis for much revisionist scholarly work on the concerto toward the end of the twentieth century. Subtypes C, D, and F concern the problematic status of the R3-

S3 layout. Subtype C is similar to B but with no ritornello claimed at the onset of the recapitulation. Subtype D is a nine-part format that is also similar to Subtype B, except that

Subtype D has an “extra” ritornello that is used to reinforce a central developmental PAC in vi, iii, or ii. In the Subtype E, the S2 merges directly into the crux and tonal resolution, bypassing any R3 effect. This situation may be interpreted as an S2 S3 (S2 merges to S3) fusion. Finally,

Subtype F represents the movements that have only exposition and recapitulation parts, and the development space is suppressed—replaced by a brief orchestral retransition. In other words, following S1’s final cadence, the next ritornello is primarily serving as a retransition. This kind of format is often found in the slow movement of a concerto.

Section 2. R1: The Opening Ritornello, R1

The opening ritornello (R1) serves three functions: 1.) introductory/anticipatory function;

2.) expositional-rhetoric function; and 3.) referential-layout function. In Mozart’s early concerto works, in some of the smaller-proportioned wind-concertos’ first movements, and in many Type

5 slow movements, the R1 serves simply as an introductory function because of its relative brevity and its general retention of the tonic key throughout. Furthermore, many abridged R1s are rhetorically structured as non-modulating expositions. In this instance, the R1 often involves the production of a more energetic TR-like zone, a rhetorical MC, and the introduction of a new module with “secondary-theme” character, all stated in the tonic key. Additionally, in some cases the layout may be that of a continuous exposition. However, some R1s present a succession of modules whose ordering remains largely constant in the fuller rotations that follow. In other words, the ideas in R1 are recycled in exposition and recapitulation.

In a “referential-layout function” R1, the ideas, or zones include (Diagram 1.2):

Diagram 1.2 R1

R1:\P R1:\TR R1:\MC R1:\S R1:\EEC R1:\C (primary - (transition) (medial (secondary (essential (closing theme zone) close; -theme expositional zone) HC) zone) closure; PAC)

In general, one can find a fully extended Primary-Theme zone (R1:\P) that comes to a

I:PAC close elided with a forte Transition zone (R1:\TR). Occasionally an R1:\P idea, including its I:PAC, is restated and as the result the R1:\P zone closes at the second I:PAC. However, in a smaller-scale opening ritornello, the R1:\P zone is reduced to a mere head motif and quickly moves into R1:\TR zone before any I:PAC is attained. Such instance is understood as P TR mergers. Moreover, sometimes the initial module, or general rhythmic figuration, or contour of

the R1:\P, can recur repeatedly and spread out at various locations within the movement. When this happens, the R1:\P becomes a motto or idée fixe which can function as a “wild card”—an inert card that may be placed onto the sonata-table at any number of later occasions, at nearly every available opportunity. The best examples of “wild card” concerto movements are Mozart’s

Piano Concerto Nos. 19, 21, 24, and one of Spohr’s clarinet concertos that will be demonstrated in full in a later chapter.

Three types of transition zones are commonly found within a large-scale R1. The first, and the most frequently used, is the independent transition that sets forth a new thematic module.

The second is the reinforced and varied transitional dissolving restatement. The third, and the least common, is the developmental transition or transition that arrives as the motivically related culmination of R1:\P. However, this third developmental transition is the trademark in Spohr’s clarinet concertos.

In most cases R1:\TR eventually comes to a dominant-lock and Medial Close (MC, usually an HC but occasionally a V:PAC), followed by a brief Caesura Fill (CF) before the arrival of Secondary-Theme zone (R1:\S). The MC divides R1 space into two parts, but not all

R1s are divided with an MC in the center. It is possible to have no MC effect at all, and to result in a continuous R1. As for CF, in some R1s, it is expanded to the extreme that it suppresses the opportunity of a “real” Secondary theme (S) that is supposed to happen next. In this instance, the

CF continues to stretch until the next event—Essential Expositional Closure (R1:\EEC).

Next, Secondary-Theme zone (R1:\S) is parallel to the secondary theme in other non- concerto sonata movements in terms of its rhetorical shape and purpose. It almost always opens with a soft dynamic, and usually with a cantabile theme. In addition, most of R1:\S begins in the tonic key and remains in tonic, but frequently, the interior of secondary theme may modulates to

other keys before returning to the tonic. There are few instances where R1:\S begins in the non- tonic key, but this purposeful “S-misstep” is corrected quickly and re-stabilized back to the original tonic. The R1:\S zone concludes with an EEC (I:PAC); however, one should be especially alert when deciding the placement of EEC since there might be several PAC effects within the S space. It would be better to make out the case for the alternative interpretations rather than to declare the R1:\EEC with brash confidence.

Once the location of the R1:\EEC is decided, the remainder will occupy as Closing zone

(R1:\C). R1:\C can begin in different ways in terms of its dynamics and thematic material. For example, when R1:\S is concluded in a piano dynamic and elided with R1:\C, the latter zone often begins with an abrupt forte. In most cases, the forte R1:\C is a new theme; it is not P based.

However, a forte R1:\C is not common. More frequently, the R1:\C begins with a soft dynamic and concludes with a forte flourish that rounds out R1 with fortified rhetorical punctuation.

Some modules of R1, such as R1:\P, will appear in later spaces; however, others may fail to appear again in the exposition but only resurface in the synthesis in the recapitulation. This can happen when S1:\S is entirely new or S only tracks parts of R1:\S. If the last few S theme or closing-zone materials do not re-emerge to conclude Ritornello 2 (R2), it is more likely they will appear in Ritornello 4 (R4). Occasionally one may find a module within R1 that does not appear again, and this is especially possible within pre-MC modules, but rarely will an interior R1:\S- module fail to resurface later in the piece. A special case is Mozart’s Clarinet Concerto in which

R1:\S2, measures 31-39, is unique to R1. It does not appear again in other sections of the piece.

Section 3. Solo and Larger Expositions: Solo 1 + Ritornello 2

In general, the overall scheme of S1 and R2 is as follows (Diagram 1.3):

Diagram 1.3 S1 + R2

R1:\P S1:\TI R1:\TR MC (tutti interjection) (or other post-P theme options)

R1:\S S1:\EEC S1:\DE R2 (or S1: \TM; tri-modular block) (display episode) R2:\EEC

The initial solo entry S1 can be treated in various ways. I will point out only three options.

The first, and also the first-level-default procedure in Mozart’s concertos (especially the earlier ones), is to have come to a full close, and a soloist enters by sounding the opening of the R1:\P theme in the tonic. A soloist may play the R1:\P theme bar-for-bar, but more often with personalized decorations. However, when the R1:\P is subjected to an R1:\P TR merger within the R1 space, S1 may begin by tracking only the first few measures of the R1:\P and then proceed to an immediate expansion and new material on its own. The second method is to have the soloist enter with new material preceding the onset of R1:\P, such as links, bridges, and prefaces. In fact, several of Mozart’s concertos call for the soloist to make an initial appearance with a new idea that has not been presented in the R1. The length of this newly inserted module is varying. If it is longer and more complex, it will be realized as an S1:\Ppreface. Other shorter passages may serve only as a brief link or bridge between the end of R1 and the reiteration of

R1:\P within S1. An S1:\Ppreface example is Weber’s Second Clarinet Concerto which will be discussed in this document. Finally, the third option is to have the soloist enter with a new theme that substitutes in R1:\P’s place.

The closure of R1:\P within Solo 1 section (S1) is usually accomplished by the soloist who leads directly into a brief orchestral tutti— Tutti Interjection (TI). The TI can be modulatory, but in some concerto movements the TI flourishes into a non-modulatory P-codetta, which is usually followed by a short rest and a new push forward—normally led by the soloist—into the

Transition zone (TR).

TR is the next structural zone. Its content can be the same as R1:\TR, or something entirely new (S1:\TR). But one should pay special attention to the sujet-libre type of transition.

In this type of transition, the soloist takes over the initial new theme decisively and that theme, intended as a fresh impulse, progresses to an extended phase. The sujet-libre transition can progress in one of the following ways: 1.) the “linkage technique” where the soloist takes its cue from the motivic-work animating the end of S1:\TI1 and begins to build a transition that leads off with a refashioning of that material; 2.) the S1:\TI1 is omitted, and the R1:\P theme moves directly onto a “new idea” S1:\TR (sujet-libre); 3.) S1:\TI1 serves modulatory purpose and sujet- libre transition begins off-tonic. The best example of the third type is Mozart’s Clarinet Concerto, which will be examined in the next chapter. Regardless of the type of transition selected, TR drives toward a I:HC, V: HC, or V:PAC, or in minor-mode movements, toward their analogues.

This cadence opens the door onto a new, non-tonic zone—Secondary-Theme space (S).

S-space in Solo 1 (S1) contains all or some of the R1:\S elements. The simplest scheme is to have S1 revisit R1:\S as the entirety of its own S-space without significant additions or substitutions; however, this happens infrequently. Most commonly, the opening module of R1:\S is used to begin Solo 1 S-space but is provided with a different continuation. In some concerto movements, the S-space can also be expanded by applying Tri-Modular Block (TMB) strategy— an especially emphatic type of multi-modular structure in an exposition or recapitulation, always

associated with the phenomenon of “apparent double medial caesuras.” Individual blocks may be designated as TM1, TM2, and TM3. At its end, the TMB leads to an Essential Expositional

Closure (EEC). TMB is Mozart’s most frequent strategy for expanding mid-exposition space, and the last block of a TMB—TM3—usually comprises R1:\S or R1:\S1.1 material. Mozart’s famous Clarinet Concerto is one of the instances. There is only one concerto movement in which

Mozart retained R1:\S1.1 at TM1 rather than at the last block. In general, all or some of R1:\S materials may appear in S1:\S, but it is also possible that R1:\S does not appear in S1 at all.

Some S1:\Ss begin with new material that is not elaborated as TMB, or the R1:\S can be replaced by an entirely new S1:\TMB.

The S-space of Solo 1 (S1) comes to an end with an EEC which has to meet two criteria: it is not only the first satisfactory perfect authentic cadence that goes on to differing material, but also the first V:PAC (or III:PAC) that has no R1:\S module sounded after it within the S1. The placement of this S1:\EEC is variable, but very often S1:\EEC elided with S1 closing space which is primarily occupied by Display Episode (DE). DE is the final element of the solo exposition. It features the climactic spotlighting on the soloist’s part, like brilliant runs, scales and arpeggios, all for the purpose of accumulating energy toward the trill cadence that leads into the elided orchestral Ritornello 2 (R2).

R2 plays two roles in the exposition. First, it provides enhancement of the cadential conclusion of Solo 1 (S1). Second, it seeks to complete the still ongoing rotation by supplying some or all of the missing modules from the end of R1. Usually, R2 can begin with modules such as R1:\TR1.1, R1:\P, or it can even begin with new material. However, when R2 starts with an unsounded module of S1, frequently this module is R1:\C or R1:\S.

Section 4. Development and Recapitulation: From Solo 2 through Ritornello 4

In a Type 5 sonata movement, the development space can occupy only Solo 2 (S2), or both S2 and the following Ritornello 3 (R3). This space also has its own tonal and thematic design. The tonal schema in S2 includes circle-of-fifth or other discursive progressions, like exploration of minor modes and dominant locks. The melodic materials are relatively freer and more episodic than non-concerto sonata movements. In other words, in the development section, composers often pursue materials loosely related to the previous R1 and S1, or follow only a characteristic rhythm or a small feature of the figuration. Still there are some concertos in which its S2 returns to variants of R1:\P at or near the opening of S2. As a result, this kind of S2 is a

“rotational” type of development. The overall shape of S2 is described as below (Diagram 1.4).

Diagram 1.4 S2

Linkage technique

Central action or set of actions Exit or retrainsition

Entry or preparation zone

Mozart frequently began a Solo 2 section (S2) by having the soloist seize upon the final figure of Ritornello 2 (R2), restate it as a germinal idea, and then move on to the next new module. Such an instance can be found in Spohr’s Clarinet Concerto No.2 and in both of

Weber’s Clarinet Concertos. Next, the central action is a modestly sized central block of sequences in which a soloist performs rapid passagework. During the soloist’s display passages, an orchestra may play a number of Tutti Interjections (TI) which occur particularly frequently in the beginning of S2; however, the number of TI occurrences is variable from one piece to another. Some concerto movements have up to six TIs, but some do not have any TI at all.

Finally, Retransition (RT) is the last event zone in the development, and it is the preparation for the recapitulation. The RT often progresses to a structural-dominant lock in various lengths. In some cases, the RT occupies only the last zone of S2 or appears in the following R3, but in some movements, the RT uses both S2- and R3-spaces.

A recapitulation S3 space could contain the following modules (Diagram 1.5):

Diagram 1.5 S3

S3 (solo-led)

R3 + S3 (double- R1:\TR R1:\MC R1:\S ESC DE start opening) (essential structural R3 S3 closure)

The opening of solo recapitulation (S3) could exhibit one of the three plans: 1.) solo-led—simply indicated as S3; 2.) double-start opening R3 + S3; and 3.) R3 S3 merger opening. In the solo- led S3 movement, the S3 starts the same way as S1. Additionally, in this type of recapitulation the preceding R3 often function as RT. The second option, R3 + S3, shows the orchestra plays

R1:\P to mark the structural moment of recapitulation, but within four or five bars the soloist comes in to lead and replicates the opening of S1. Here, the R3 no longer serves as an RT. Lastly, in the R3 S3 merger, the solo recapitulation begins with a decisive tutti pillar replicating the beginning of R1:\P. However, within a few measures the soloist re-enters to assist with or to take over the continuation of S3. This strategy avoids the redundancy of double-start recapitulation.

In Mozart’s middle and late concertos, this is the most common option.

The simplest way to compose an S3 is to track only the modules in S1, but composers do not always choose this option. The relationship between S3 and previous event zones, such as R1,

S1, and R2 is variable from one piece to another. In some instances, the S3 is the synthesis of R1,

S1, and R2. In other movements, the S3’s S- and C-spaces restore the R1:\post-MC materials suppressed in the S1 + R2. Nevertheless, in some cases the plan is the opposite.

R4 is the final orchestral ritornello that closes a concerto movement. One of the primary tasks of R4 is to pick up any remaining loose ends of the composition. It always completes the recapitulation rotation by bringing back the concluding modules of R1 that were not included in the S3, or by reinstalling any R1 modules that had not been heard since the R1. Many of

Mozart’s concertos’ first movements feature such reinstatements at the end. R4 is often straddled by the soloist’s cadenza even though in the clarinet concerto that is not the case. The overall shape of R4 is demonstrated in Diagram 1.6.

Diagram 1.6 R4

R41 Soloist’s cadenza R42

1 When the R4 is subdivided, the orchestral R4 presses efficiently toward the grand 6$ chord which opens the path to a solo cadenza. Then, the orchestral R42 follows and elides with the soloist’s last trill-cadence. In Mozart’s concertos, the R41 is commonly outfitted with differing materials, and the R42 often brings back the R2-referential music. Another common choice is to split the R2 music between R41 and R42. Nonetheless, it is possible to include only

R2 material in R41, and leave R42 free to restore previously unsounded material from R1.

The following chapters contain the analyses of clarinet concertos by Mozart, Louis Spohr, and Carl Maria von Weber.

Chapter II Wolfgang Amadeus Mozart’s Clarinet Concerto, K. 622

Mozart’s most famous encounter with the clarinet was in Mannheim in late 1777 during his return trip from Paris. He extended his stay until 1778 and observed the Mannheim Orchestra, which was famous throughout Europe for its splendid complement of string and wind instruments. Mozart’s friendly association with its woodwind section players, such as flutist

Johann Wendling, oboist Friedrich Ramm, and bassoonist Georg Wenzel Ritter, increased his interest in those instruments.9 Anton Stadler, a celebrated Austrian clarinetist, met Mozart at the home of Countess Wilhelmine. Soon after Mozart’s move to Vienna in 1781, the two became friends; Stadler often performed in Mozart’s Masonic works, and Mozart also entrusted Stadler with certain business dealings. Mozart wrote many pieces especially for Stadler, including the

Clarinet Concerto K. 622, which was composed between September 28 and November 15, 1791 according to Mozart’s thematic catalogue.10

Numerous analyses of Mozart’s Clarinet Concerto were published previously; however, several issues have emerged in those investigations. For example, in Colin Lawson’s well-known examination of the concerto, he states, “Another aspect of the Clarinet Concerto’s first movement which varies from the pattern established within the piano concertos is the insertion of a ritornello after the development (allowing the soloist pause for breath) and subsequent participation by the clarinet at the very beginning of the recapitulation.”11 In fact, the occurrence of an orchestral ritornello after the development is a common design and, according to

Hepokoski and Darcy, it also functions as a retransition. This particular ritornello features

9 Otto Jahn, Life of Mozart, trans. Pauline D. Townsend (London: Novello, Ewer & Co., 1882), ii: 36-40.

10 Otto Erich Deutsch, Mozart’s Catalogue of His Works, 1756-1791, facsimile (New York: Herbert Reichmer, 1956), 36.

11 Colin Lawson, Mozart: Clarinet Concerto (Cambridge: Cambridge University Press, 1996), 62. 17

Mozart’s most extended retransition of all his concertos in that it incorporates several thematic ideas from the earlier sections and then expands outward.12 Lawson continues, saying, “the

Concerto is unusual for its date in offering no context for a genuine cadenza, in which it again differs from the precedent within Mozart’s piano concertos.”13 It is true that the omission of cadenza is contradictory to Mozart’s piano concertos, but it is not rare for its date. From the same compositional period when he wrote the Clarinet Concerto, Mozart’s Horn Concerto No. 1 (1791) and No. 2 (1783) also lacked a cadenza. Hepokoski and Darcy have commented on Mozart’s

Clarinet Concerto throughout the Elements of Sonata Theory.14 The following is a summary of their analysis.

The opening ritornello (R1) consists of seven zones: P, TR, S1, S2, C1.1, C1.2, and C2. The

R1:\P theme concludes with an IAC at measure 16. The Transition (TR) follows immediately and articulated by an half cadence (I:HC) at measure 24. At the next measure the R1:\S1 theme begins which has a lyrical quality; it does not contrast to the characteristic of R1:\P (Ex. 2.1).

However, the succeeding R1:\S2 theme is unique to the R1 and it does not appear in the later rotations. Furthermore, Hepokoski and Darcy point out when there are two secondary themes (S) in R1, the S-space in S1 section is often constructed by tri-modular blocks (TMB) and the S1 theme of R1 is used in one of the blocks. This is evident in Mozart’s Clarinet Concerto. The S1 of this concerto movement contains tri-modular blocks. In addition, the R1:\S1 serves as the TM3.

The R1:\S2 ends at measure 39 with an EEC, and lastly, the Closing zone (R1:\C) is divided into

C1.1, C1.2, and C2. Measures 55-56 from the C2 function as rhetorical punctuation; they re-emerge as a tutti interpolation that marks the end of Primary-Theme zone in the S1 and S3 sections.

12 Hepokoski and Darcy, 576.

13 Lawson, 62.

14 Hepokoski and Darcy, 139-596. 18

Example 2.1 R1:\P (mm. 1-8); R1:\S1 (mm. 25-31) and R1:\S2 (mm. 31-39)

R1:\P (mm. 1-8)

R1:\S1 (mm. 25-31) and R1:\S2 (mm. 31-39)

R1:\S1

R1:\S2

The Solo 1 (S1) section opens with the R1:\P theme, and the Tutti Interjection (TI) follows at measure 75 where the orchestra reprises the material of measures 55-56 for rhetorical purpose, but suddenly the music draws back to piano dynamic and collapses into A minor with the onset of the sujet-libre type of Transition (S1:\TR). The S1:\TR zone is divided into TR1.1,

TR1.2, and TR1.3. As shown in Example 2.2, the TR1.1 is first stated in A minor, but quickly the A minor moves onto C major at measure 85 where the TR1.2 begins. However, the harmony continues to shift in the TR1.2; it modulates to E minor at measure 94 and stays in the dominant chord until the TR1.3 arrives at measure 100. The TR1.3 only lasts for four measures; soon it falls into the first Tri-Modular block (TM) at measure 104 which beings contrastingly in A major.

Example 2.2 S1:\TR1.1, TR1.2, and TR1.3, is a case of sujet-libre transition (mm. 78-103)

S1:\TR1.1

S1:\TR1.2

S1:\TR1.3

The Secondary Theme-space (S) of the Solo 1 (S1) contains Tri-Modular Blocks: TM1,

TM2, and TM3. The new theme of S1:\TM1 (Ex. 2.3) seems capable of being regarded as the first expositional secondary theme. Its sixteenth figures in measure 108-111are originated from measures 20-23. Nonetheless, the S1:\TM1 closes with a PAC of E major and immediately merges into the S1:\TM2 at measure 115, which drops at once to C© minor. The S1:\TM2 behaves reactively; it starts the subsequent recovery at measure 123 and continues to set up another MC that occurs at measure 127 in A major. The TM3 arrives at measure 128 where the R1:\S1 is used

as the primary theme. The S-space finally comes to an Essential Expositional Closure (EEC) at measure 134.

As for the next zone, Closing zone (C), Hepokoski and Darcy especially point out the structure of a C-space within the S1 is varied from one movement to another. One’s analytical result is highly interpretive because it depends on the analyst’s prior decision about the locations of the EEC and C-space within the R1. In Mozart’s Clarinet Concerto, the C-space in S1 begins with the orchestral thematic statement of R1:\C1 at measure 134, then it merges into the soloist’s

Display Episode (S1:\DE) at measure 138 (Ex. 2.3). The S1:\DE concludes with a trill-cadence in E major at measure 154, and the Ritornello 2 (R2) section follows immediately which consists of R1:\TR and R1:\C2 materials.

Example 2.3 Tri-Modular blocks (mm. 104-134) and Closing zone (mm. 134-140) within the S1

S1:\TM1

S1:\MC1 S1:\TM2

V:PAC

S1:\MC2

V: V7

TM3

R1:\S1

S1:\EEC

R1:\C1

Closing zone

S1:\DE

The Solo 2 (S2) section is considered as a “half” rotational development. As shown in

Example 2.4, it begins with a sentential reference to the incipit of R1:\P, then it is led into other melodies. After the Tutti Interjection (TI1), the S1:\TR1.2 is resounded again at measure 200 until measure 214. The Retransition (RT) begins at measure 216 and continues to expand into the

Ritornello 3 (R3) space. This is the most extended retransitional R3 in Mozart’s concerto works.

It occupies twenty-two measures (mm. 227-248), and it incorporates an opening passage in free style and some R1:\TR materials. Harmonically, it modulates from the soloist’s concluding PAC in C© minor to an active dominant chord of the tonic A major. Then, it is followed by three more bars of solo-led fill (mm. 248-250), which elides in its fourth bar with the onset of the solo-led recapitulation.

Example 2.4 S2, reference of P theme (mm. 172-176)

The Solo 3 (S3, recapitulation) section is parallel with the Solo 1 (S1) with some variations: the length of the S1:\TR1.2 is reduced, and the melodic content of the TM2 differs from the one in the S1:\TM2 but they may sound similar.

In most of Mozart’s concerto movements, the final ritornello (R4) is divided into two parts: R41 and R42, straddled by the soloist’s cadenza. However, three of Mozart’s concerto movements lack of a cadenza within R4 and consequently these R4s do not subdivide into the normative R41; R42. K. 622 is one of the cases. The other two are his Vienna-period wind concertos, Horn Concerto No. 1 and No. 2. The R4 of the clarinet concerto is constructed by

R1:\TR, R1:\C1.2, and R1:\C2. Overall, this movement is an example of a seven-part format: four ritornellos and three solo sections.

Diagram 2 Wolfgang Amadeus Mozart, Clarinet Concerto K. 622, 1st movement

Ritornello 1

R1:\P mm. 1-16 A major

R1:\TR mm. 16-24 modulates to c minor; motif & scale-wise phrases

MC m. 24 A major: HC

R1:\S1 mm. 25-31 lyrical quality but does not contrast to R1:\P

R1:\S2 mm. 31-39 it is unique to R1 and it does not appear in later rotations

EEC m. 39

R1:\C1.1 mm. 39-43

R1:\C1.2 mm. 44-48

2 R1:\C mm. 49-56

Solo 1

R1:\P mm. 55-75 A major

S1:\TI1 mm. 75-77 modulatory

S1:\TR1.1 mm. 78-85 A minor; Sujet-libre

1.2 S1:\TR mm. 85-100 C major → e minor

S1:\TR1.3 mm. 100-103

S1:\TM1 mm. 104-115 A major

S1:\MC1 m. 115 A major: HC

2 S1:\TM mm. 115-127 vi → A major

S1:\MC2 m. 127 A major: HC

TM3=R1:\S1 mm. 128-134 based on the R1:\S1

EEC m. 134

1 R1:\C S1:\DE mm. 134-154

Ritornello 2

R1:\TR mm. 154-163

R1:\C2 mm. 164-171

Solo 2

R1:\P mm. 172-192 E major

TI1 mm. 192-200 mm. 194-200 brief interplay between orchestral and soloist

S1:\TR1.2 mm. 200-214 D major

TI2 m. 215

RT mm. 216-227

Ritornello 3

RT mm. 227-238 vi: PAC; extended

R1:\TR mm. 239-248

th Fill mm. 248-250 elides in its 4 bar with the onset of the solo-led recap.

Solo 3

R1:\P mm. 251-269 A major

S1:\TI1 mm. 269-271

S1:\TR1.1 mm. 272-282 A minor

1.2 S1:\TR mm. 282-288 reduced

S1:\TR1.3 mm. 288-292

S1:\TM1 mm. 292-303 A major

S1:\MC1 m. 303

2 2 S3:\TM mm. 303-315 different from the S1:\TM

S1:\MC2 m. 315

TM3=R1:\S1 mm. 316-322

ESC m. 322 A major: PAC

1 R1:\C S1:\DE mm. 322-343

Ritornello 4

R1:\TR mm. 343-346

R1:\C1.2 mm. 347-352

2 R1:\C mm. 352-259

Chapter III Louis Spohr’s Clarinet Concertos

Louis Spohr (1784-1859) has been regarded as worthy of a place beside Haydn, Mozart, and Beethoven. He was also known as an experienced conductor and a virtuoso violinist whose playing was admired by Queen Victoria. When he was a concertmaster at the court of the Duke of Gotha from 1805 to 1812, Spohr wrote his first two clarinet concertos for Johann Simon

Hermstedt, a court clarinetist to Duke Günther I of Schwarzburg-Sondershausen. Under

Hermstedt’s teaching, the duke became a passionate clarinetist and commissioned Spohr’s first concerto for the instrument. The friendship between Spohr and Hermstedt resulted in four clarinet concertos—composed in 1808, 1810, 1821, and 1828 respectively—two sets of variations, and a potpourri. All were written for and first performed by Hermstedt.15 In addition to the achievements of instrumental virtuosity and musical substance, these four concertos represent a major contribution to the development of the clarinet not only in terms of repertory but also of instrumental construction. The technical demands of the First Clarinet Concerto required modifications to the instruments.16 Moreover, Spohr was the first promising composer after Mozart to compose concertos for clarinet, and along with Weber, was one of the important composers of the clarinet concerto literature in the early nineteenth century.

Hermstedt acquired Spohr’s manuscripts of all of the concertos and smaller pieces composed for him. Because his popularity had generated a demand for his works by prominent publishers who were willing to pay handsomely for them, Spohr was able to persuade Hermstedt to allow publication of his first two clarinet concertos and the two concert-pieces Op. 80 and Op.

81. Later, after Hermstedt agreed to release the remaining compositions in his possession, Spohr

15 Pamela Weston, Clarinet Virtuosi of the Past (London: Robert Hale & Company, 1971), 77-100.

16 Ibid., 155. 29

continued to publish other clarinet works under Hermstedt’s supervision. However, the project was abandoned in 1846 after Hermstedt’s death.

Although Spohr composed numerous clarinet works, the research of those compositions is scanty, particularly the concertos. The only scholarship on this subject is dated in 1972,17 and the other two documents focus on Spohr’s violin compositional style and chamber music.18 The following sections are the analyses of a sonata form in the first movement of his clarinet concertos. These concerto movements contain a lengthy, elaborated sonata form and feature splendid solo and orchestral parts.

17 Stephen Keith Johnston, “The Clarinet Concertos of Louis Spohr” (DMA thesis, University of Maryland, 1972).

18 Jonathan Andrew Sturm, “The Evolution of a Dramatic Compositional Style in the Violin Concertos of Louis Spohr” (DMA thesis, Indiana University, 1995). Martin Wulftorst, “Louis Spohr’s Early Chamber Music (1796-1812): A Contribution to the History of Nineteenth-Century Genres” (PhD dissertation, City University of New York, 1995). 30

Section 1. Clarinet Concerto No. 1 in C minor, Op. 26

Without a doubt, Anton Stadler, Johann Simon Hermstedt, and Heinrich Baermann were the three greatest clarinetists of the early nineteenth century. Stadler became well known due to his relationship with Mozart; however, Hermstedt and Baermann possessed such immense talent that they would have become famous without their connections with Spohr and Weber. In contrast to his serious rival, Baermann, Hermstedt traveled outside Germany only once and made no attempts at composition himself. However, Hermstedt was probably the one who had the most advanced performance technique of them all, and indeed, it was his supreme skill that enabled

Spohr to write tour-de-force compositions.

When writing the First Clarinet Concerto, Spohr confessed that he had little knowledge of the instrument, he simply composed based on Hermstedt’s inspirational performance and his own musical background. The result was a series of violin-like passages, and the phrases soar up to written pitch C7, which is very high on the clarinet. Hermstedt set out to improve his clarinet in order to cope with the technical challenges—he added a total of eight keys to his five-keyed clarinet.19 The premiere of the concerto took place on June 16, 1809 with Hermstedt playing the solo and Spohr leading the orchestra.

Clarinet Concerto No. 1 is the only one of the four clarinet concertos that begins with a slow orchestral introduction (R1). Incidentally, three of Spohr’s fifteen violin concertos also have a slow orchestral introduction. This clarinet concerto opens with four beats of timpani tremolo. Coincidently, Beethoven’s Violin Concerto Op. 61, composed earlier in 1806, has the exact same opening. After only four measures of woodwind introduction, the Primary Theme

(R1:\P0) plunges onto a surprising bVI tonicization—Ab major, and the Ab major continues for

19 Pamela Weston, Clarinet Virtuosi of the Past (London: Robert Hale & Company, 1971), 82. 31

seven measures before returning to an unequivocal C minor tonic center at measure 13. Then, the

P theme is restated in the “correct” key of C minor in R1:\P1 module (mm. 15-22). Because the

R1 comprises only two statements of the P theme, one including the unexpected modulation and the other staying entirely in the tonic key, suggests that the opening R1 is a single zone that serves little more purpose than to act as an anacrusis to the solo exposition (S1). In other words, this R1 does not provide expositional layout, but only introductory/anticipatory function.

The R1:\P0 theme serves as the thematic seed for the entire movement (Ex. 3.1). The rhythmic figure and melodic contour of this theme recurs throughout the movement and spreads out at various locations, for instance, Tutti Interjection (TI), Transition (TR), Secondary–Theme

(S), Display Episode (DE), Ritornello 2 (R2), and Closing (C) spaces. In other words, the R1:\P functions as the idée fixe motto. According to the Sonata Theory, the idée fixe motto can be used like a “wild card”—one can play it at anytime, and Spohr’s First Clarinet Concerto’s first movement precisely demonstrates this feature. Other “wild card” concerto movements include

Mozart’s later Piano Concertos No. 19, K. 459; No. 21, K. 467; and No. 24, K. 491.

Example 3.1 R1:\P0 (mm. 1-5)

idée fixe motto

The Solo 1 (S1) occupies measures 23-131. As shown in Example 3.2, the soloist starts the S1 with a R1:\P-based Primary Theme (P) lightly accompanied by the orchestra, and the melody quickly sprouts into a triplet quasi-display passage after the initial cadence at measure 33.

Next, the orchestra’s Tutti Interjection (TI) takes over for four measures, which is, again, constructed by the idée fixe motto. This idée fixe motto is then immediately picked up by the soloist at measure 44 where the Transition zone (TR) begins.

Example 3.2 P theme within the S1 (mm. 23-34) R1:\P quasi-display passage

display passage

An interesting structural feature in this movement is that S1 contains a developmental type of Transition (TR), and it is divided into three modules: TR1.1 (mm. 44-55), TR1.2 (mm. 61-

69), and TR1.3 (mm. 69-78); a Tutti Interjection (TI2) is inserted between the TR1.1 and TR1.2. The

TR1.1 begins with the soloist’s continuation of the previous orchestra-led idée fixe motto, then the soloist’s melody moves onto a different melodic resolution and a series of triplet figures that were first heard in the quasi-display passage at measure 28 (Ex. 3.3). Although the idée fixe motto is played only twice by the orchestra in the TR1 module, the idée fixe motto quickly takes over the course of following TI2 and TR1.2 spaces. First, the TI2 (mm. 55-60) is primarily constructed by the idée fixe motto with the soloist’s responsorial fragments. On the one hand, this particular TI2 serves as a mediator that connects TR1.1 and TR1.2; on the other hand, it is used for rhetorical purpose to articulate other sections within the movement—it marks the end of S space in the S1(m. 95) and initiates the beginning of TR space in the S3 (m. 219). Second, the

TR1.2 module is built upon the stretto technique as shown in Example 3.3. The orchestra presents the idée fixe motto twice in two beats apart and the solo clarinet joins the stretto texture another

two beats later. Lastly, and interestingly, the TR1.3 (mm. 69-79) foreshadows what is to come in the next Secondary-Theme space(S)—the orchestra introduces the S theme at measure 69, which contains the incipit of the R1:\P. Meanwhile, the clarinet soloist performs repetitive chromatic scales above the orchestral accompaniment.

Example 3.3 TI1 and TR1.1 (mm. 40-50); TI2 (mm. 55-60); TR1.2 (mm. 61-63); TR1.3 (mm. 69-72); and S theme (mm. 88-92)

TI1 and TR1.1 (mm. 40-50) TI1

idée fixe motto idée fixe motto

idée fixe motto TR1.1

idée fixe motto

triplet figure from m. 28 triplet figure

TI2 (mm. 55-60) TI2

TR1.2 (mm. 61-63) TR1.2

stretto

TR1.3 (mm. 69-72) and S theme (mm. 88-92)

TR1.3

S theme (the incipit of the R1:\P) S theme

S theme

After a series of arpeggios, the Secondary-Theme zone (S) begins at measure 88 with the theme introduced earlier at measure 69. This theme is concluded shortly at measure 95 and followed by the TI2 material (mm. 55-60); however, the S theme is unexpectedly reiterated by 35

the soloist at measure 101 and it is further imitated by French horns (Ex. 3.4). Then, the melody further develops into sequences and scales, and finally ends with a PAC—or EEC to be more precise—at measure 112. The S1 S-space could have closed at measure 101, but Spohr reopened the space by repeating the S theme. It will be appropriate to interpret this additional section, measures 101-112, as an S1.2. There is no well-founded explanation for Spohr’s choice of repeating the S theme when obviously the S action zone has been established. Perhaps he chose to do so because the S1.1 ends with an open cadence and he felt the need of a stronger cadence; or, since the S-space is not included in the R1 section, it is entitled to be stated twice; or, simply because Spohr wanted to provide the soloist more “improvisation” or “cadenza”-like moments since there is no other opportunity in the entire movement.

Example 3.4 S1.2 (mm. 101-105)

imitation

Next, the Display Episode (DE) is primary constructed by the soloist’s scale-like passage and the orchestra’s inverted idée fixe motto. When the DE concludes with the soloist’s trills cadence at measure 131, the Ritornello 2 (R2) begins immediately with the R1:\P theme, which lasts until measure 142 where another EEC occurs. Then, an idée fixe motto-based codetta follows to wind up the R2 section at measure 150.

The development section (S2) encompasses measures 151-193. Because the S2 does not pursue the S1 modules closely, and the S2’s materials only take up a few characteristic

figurations that were sounded in the R1, the S2 here is best understood as an episodic development rather than rotational. First, the descending gesture from note G to B of the opening

S2 phrase catches the essence of S theme (Ex. 3.5). However, this phrase plunges into a long lyrical melody and begins to gain a self-standing character. This new melody provides not only a momentary break from the idée fixe motto, but also serves as a vehicle for the tonal shifting from

Eb major to Bb major.

Example 3.5 S theme (mm. 88-89) and the opening melody of Solo 2 (mm. 151-154)

Secondly, the idée fixe motto resurfaces at measure 162 as the orchestral Tutti

Interjection (TI), but it is expanded slightly and sounds somewhat more tranquil. This TI is immediately repeated at measure 164 and is serenaded by the soloist’s triplets, which quickly move onto the previous G-B descending gesture at measure 167. As demonstrated in Example

3.6, Spohr cleverly used only a few ingredients to create a well-rounded episode (mm. 151-169).

The opening S2 melody reminds the listener of the Secondary Theme (S) within the S1, although it still carries through to a small independent developmental phase. The milder version of the idée fixe motto occurs two times in the orchestral part while the clarinetist’s triplets appear the second time. At the end, the recurring G-B gesture echoes the melody that opens S2. The result is a unique arch structural design.

Example 3.6 The opening of S2 (mm. 151-169)

Soloist TI Soloist’s triplets with Soloist S1:\S character idée fixe motto orchestral idée fixe motto S2 opening figure (mm. 151-162) (mm. 162-163) (mm. 164-166) (mm. 167-169)

Finally, the central action zone arrives at measure 170 where the soloist plays sixteenth arpeggiated passages accompanied lightly by the orchestra’s idée fixe motto. The harmonic progression of measures 179-193 is particularly engaging. At measure 179 the harmony is locked into the dominant of C minor, and the melody reaches its climax at measure 183. The S2 space is to be closed after the orchestra’s roaring Caesura Fill (CF), but unexpectedly the orchestra lands on a deceptive cadence at measure 187. Since Solo 2 (S2) section normally concludes with an active dominant chord of the home key, the deceptive cadence has reopened the S2 space; Spohr therefore had to correct it. The next zone (mm. 188-194), interpreted as Retransition (RT), redirects the harmony back to rightful active dominant chord via German augmented sixth chord

→ cadential 6$ → V7 in measures 192-193, before the recapitulation begins. The music of this section is reproduced in Example 3.7.

Example 3.7 S2 section (mm. 181-193)

C minor: V ------

RT DC

+6 7 Gr. cad.6$ V VI

The recapitulation starts at measure 194, where the orchestra first plays the R1:\P1 theme then, the soloist follows with the Primary Theme (P) from the Solo 1 (S1): the same presentation occurs as in the beginning of this movement except that it omits the R1:\P0. Because R1:\P1 is introduced twice (please note that R1:\P1 and P-theme within the S1 are based on the same thematic idea), this recapitulation is the best example of a double-start opening: R3 + S3. In other words, rather than starting from the soloist entry at measure 202, the recapitulation begins when the orchestra plays the R1:\P1 in the home key of C minor at measure 194. The recapitulation continues with the same zone/module rotation as the S1, only it omits the TR1.1 module. However, the tonal plan of this module is rather interesting. The key signature changes from three flats to no flats (C major) at measure 225. After a short visit in Eb major and C minor, the C major is firmly established at the S-space (m. 252) and is carried through to the end of the movement. In brief, this concerto movement begins in C minor and ends in its parallel C major. To conclude this movement, the final ritornello (R4) rotates the R2 modules, and the soloist chimes in at the final codetta.

Overall, the first movement of Spohr’s Clarinet Concerto No. 1, Op. 26 is a “wild card” concerto movement. The idée fixe motto is used in almost all the modules and zones, and is incorporated in the primary theme, orchestral accompaniment, imitation and stretto texture, and

other various melodies. The opening R1 acts like an anacrusis to the solo exposition due to its material content and brevity. On the other hand, the S1 contains a lengthy, developmental type of

Transition (TR) which, according to Hepokoski and Darcy, is uncommon. The recapitulation is an example of a double-start R3 + S3 opening, and yet the movement ends in C major rather than in the home key of C minor. Thus, the structure of this movement is closely related to Koch’s sonata form Subtype B—seven-part (four ritornello) format and “Ritornello 3”-effect launches the tonic return.20

Example 3.8 Subtype B in Spohr’s Clarinet Concerto No. 1, Op. 26, 1st movement

Material from R1 and S1

R1 S1 R2 S2 R3 S3 R4 Soloist

Orchestra i i III III III bVII i i I I

20 Hepokoski and Darcy, 437. 40

Diagram 3.1 Ludwig Spohr, Clarinet Concerto No. 1 Op. 26, 1st movement

Ritornello 1

0 R1:\P mm. 1-14 Adagio; C minor → Ab major → C minor

R1:\P1 mm. 15-22 Allegro; C minor

Solo 1

P mm. 23-40 reiterates R1:\P1 with quasi-display extension

TI1 mm. 40-43 based on the idée fixe motto

1.1 TR mm. 44-55 Ab major → Eb major

TI2 mm. 55-60 functions as a filler and for rhetorical purpose

1.2 TR mm. 61-69 Eb major → C major

1.3 TR mm. 69-79 Gb major → Eb minor → Eb major; foreshadows S1:\S

MC mm. 80-87 orchestra and soloist’s interplay

1.1 S mm. 88-95 Eb major

mm. 95-100 filler, comes from mm. 55-60

S1.2 mm. 101-112 repeats S1:\S and continues to spin out

EEC m. 112 Eb major: PAC

DE mm. 112-131 PAC at m. 131

Ritornello 2

1 R1:\P mm. 131-142 Eb major

Codetta mm. 143-150 based on R1:\P motto

Solo 2

Episodic mm. 151-162 Eb major → Bb major; some essence of the S theme

mm. 162-163 the idée fixe motto based TI

mm. 164-166 repeats previous TI topped with the soloist’s triplets

mm. 167-169 echoes the opening of the S2

Central action mm. 170-183 Eb major → C minor; Dom. lock begins at m. 179

mm. 183-187 CF; deceptive cadence at m. 187

RT mm. 188-193 active V in C minor

R3 + S3

R1:\P1 mm. 194-201 orchestra leads; C minor

P mm. 202-219 C minor: i → V

TI2 mm. 219-224 filler; C minor → C major

1.2 TR mm. 225-233 C major → Eb major

1.3 TR mm. 233-244 Eb major → C minor → C major MC mm. 244-251 linkage passage

S1.1 mm. 252-259 C major

mm. 259-264 filler

S1.2 mm. 265-276

ESC m. 276 C major: PAC

DE mm. 276-295 PAC at m. 295

Ritornello 4

R1:\P1 mm. 295-306 The R4 is the same as R2, except it is in C major.

Codetta mm. 307-314 The soloist joins at the last seven measures.

Section 2. Clarinet Concerto No. 2 in Eb Major, Op. 57

Spohr’s Second Clarinet Concerto was requested by Hermstedt for his appearance in the first ever music festival held at Frankenhausen, Germany in 1810. The concerto was premiered on June 21, 1810 and Gerber praised, “a splendid and brilliant treatment of the tutti instruments…the luster of the artistic solo passages…brought much honor to the composer, the soloist, and the entire orchestra.”21 However, the performance at Kassel, 1812 was severely criticized for its aimless modulations and undifferentiated character from Spohr’s violin concertos.22 Besides discussing the structure of this concerto movement, the following analysis will demonstrate Spohr’s frequent modulation and constant melodic expansion.

The most noticeable trait in the opening ritornello (R1) is the soloist’s entry within the

Primary-Theme space (R1:\P, Ex. 3.9). Although in the concertos from Baroque and Classical periods soloists often join the orchestra in the opening ritornello, the kind of soloistic passage that appears in Spohr’s Clarinet Concerto No. 2 is rare. Following the R1:\P is a developmental type of Transition (TR). This type of transition is also found in Spohr’s First Clarinet Concerto.

This R1:\TR comprises two modules: TR1.1 (mm. 8-20) and TR1.2 (mm. 20-35), and they are followed by a Medial Close (MC, mm. 35-43). Although these modules are unified by the same motif, each of them is developed in its own way. As Example 3.10 illustrates, each module begins with a presentation of the motif. The R1:\TR1.1 primary emphasizes the rhythmic property of the motif. After another short reprise of the motif at measure 20, the R1:\TR1.2 moves on to a series of repetitive and sequential phrases and later it settles on the dominant pedal of Bb major.

The R1:\TR1.2 comes to an end at measure 35, but the motif continues to spin out above the

21 Gerber, “Nachricht von einem in Thüringen seltenen Musikfest,” 753-754, quoted in Stephen Keith Johnston, “The Clarinet Concertos of Louis Spohr” (DMA thesis, University of Maryland, 1972), 57.

22Pamela Weston, Clarinet Virtuosi of the Past, 86. 43

prolongation of the dominant chord (mm. 35-39). Unexpectedly, the melody modulates to Db major at measure 41. This zone (mm. 35-43) not only functions as a Medial Close (MC), but also serves a modulatorial purpose that provides the harmonic connection between the Transition zone (TR—Bb major) and the Secondary-Theme zone (S—Db major). Overall, this post-P space ventures the keys of Eb major, C minor, Bb major, and Db major.

Example 3.9 R1:\P (mm. 1-8)

Solo

motif

Example 3.10 R1:\TR1.1 (mm. 9-13); R1:\TR1.2 (mm. 20-26); R1:\MC (mm. 35-42)

R1:\TR1.1 (mm. 9-13) motif

R1:\TR1.2 (mm. 20-26) motif

R1:\MC (mm. 35-42)

motif

Bb major: V ------

Db major: V7 vi IV

The Secondary-Theme zone (R1:\S), measures 44-56, is another instance of constant modulation and economical usage of the motif. Example 3.11 shows the R1:\S theme contains a dotted rhythm—the primary element of the R1:\P motif. In addition, the R1:\S modulates chromatically from Db major to D minor and Eb major, and closes with an Essential

Expositional Closure (EEC) that is immediately followed by the Closing space (C). In this R1:\C space (mm. 56-67), Spohr combined the R1:\TR1.1 and R1:\TR1.2 materials that both comprise the motif. The R1:\C concludes with a PAC in Eb major (m. 67), and is immediately succeeded by a codetta (mm. 67-72) where the motif is reprised over the prolongation of V-I progression.

Example 3.11 R1:\S (mm. 44-51)

used as S1.1 within the S1 motif

Db major

used as S1.2 within the S1

The Solo 1 (S1) begins with the same melody—R1:\P—heard in the Ritornello 1 (R1), but this time the melody is entirely played by the soloist rather than alternated between the orchestra and soloist. The Transition zone (TR) follows at measure 80, where the orchestra plays an accompaniment that is based on the R1:\TR1.1, and the soloist performs scale-wise sequential phrases. The first TR module ends with a PAC in Eb major (m. 88), and yet another module of

TR, is launched at measure 90 after a brief Tutti Interjection (TI, mm. 88-90). Although the first

TR module within the S1 echoes the R1:\TR1.1, the second TR module does not reflect the

R1:\TR1.2 material bar-by-bar. Only the opening descending arpeggio can be traced back to the

R1:\TR1.2 idea (Ex. 3.12). Furthermore, contrasted with the R1:\TR2’s vigorous quality the second TR’s melody exhibits mellifluous expression that demonstrates the singing ability of the clarinet. This TR melody concludes with a PAC in Gb major and it is followed by another short

Tutti Interjection (TI, mm. 100-102). Coincidently, the material of this TI (m. 100-102) is the same as the previous TI of measures 88-90. The soloist jumps in to play another TR passage at measure 101 before the orchestra finishes its TI. This final TR module (TR1.3, mm. 101-106) merges to the Medial Close (MC) at measure 106, which is identical with the R1:\MC (mm. 35-

39). The soloist’s melody in this section (mm. 102-112) is sounding above the F pedal that prepares the arrival of the Secondary-Theme zone (S) in Bb major.

Example 3.12 R1:\TR1.2 (mm. 90-92) and TI (mm. 100-102) within the S1

R1:\TR1.2 (mm. 90-92)

TI (mm. 100-102)

Starting from measure 115, the Secondary-Theme space (S) within the S1 traces the

R1:\S theme except that the S theme is stated entirely in Bb major without modulating to other key this time. However, Spohr treated this R1:\S material in an interesting way in this S1 S-space.

The R1:\S theme is divided into two halves, and they are used in two different locations within the S-space. The first part of the R1:\S, measures 44-48, is reprised at measure 115 with further fortspinnung, and closes at measure 122 with a PAC. After a brief Tutti Interjection (TI2 mm.

122-125), the soloist’s melody resumes at measure 124. The latter part of the R1:\S (mm. 48-52) is then sounded at measure 126. To conclude, the PAC at measure 131, which is understood as

EEC, marks the end of the S1 S-space and also launches the Display Episode (DE) that follows.

The DE occupies measures 131-158. Because of the differences of the melodic content and a short Caesura Fill (CF, m. 146) inserted in the middle, this DE is divided into DE1.1 and

DE1.2. In the DE1.1 (mm. 131-146), the orchestral accompaniment is primarily focused on the motif, while the soloist plays nonstop scale-like phrase. The soloist’s melody continues to grow into an arpeggiation extravaganza that encompasses the clarino and chalumeau registers of the instrument (Ex. 3.13). This DE1.1 demonstrates the characteristic of Spohr as a virtuosic violinist and composer because of the uninterrupted phrase structure and the wide melodic range. Thus,

this clarinet concerto shows the similar character found in Spohr’s violin concertos. Finally, in the DE1.2 the orchestra continues to play the motif while the soloist performs a series of ascending trills that conclude the S1 section at measure 158.

Example 3.13 DE1.1 (mm. 141-142)

Next, the motif and other modules from the Ritornello 1 (R1) are recycled in the

Ritornello 2 (R2) space (mm. 158-180), but none of them are presented in their entirety. Instead, the R2 is like a collage of various materials. As shown in Example 3.14, the first section of the

R2 (mm. 158-166) begins with the R1:\TR1.1’s dotted rhythmic motif. Then, at measure 166 the melody shifts to the sequential phrases that are from the earlier R1:\TR1.2 (mm. 29-30), but quickly it moves onto a module (mm. 170-180) that mixes the elements of R1:\S, R1:\TR1.1, and

R1:\TR1.2. Overall, this R2 is a lengthy prolongation of I-V harmonic progression and a synthesis of all the modules that have been heard so far in the movement.

Example 3.14 R2 (mm. 158-180)

R1:\TR1.1 (mm. 8-13)

R1:\TR1.2 (mm. 29-30)

S theme R1:\TR1.1 + R1:\TR1.2

R1:\TR1.2 (mm. 33-34)

The Solo 2 (S2) takes off at measure 180. It is initiated by a linkage technique—the soloist picks up the orchestra’s sixteenth figure from the end of the R2. Then, the soloist’s melody continues to a new theme that is unique to the movement (Ex. 3.15). Despite the fact that

Spohr has shown significant economical usage of the motif, the new theme in the S2 exhibits a lyrical and expressive quality that contrasts with the march-like motif. Additionally, this theme contains an antecedent-and-consequence phrase structure, in which the latter consequence phrase concludes the new theme with a PAC in Bb major at measure 198.

Example 3.15 R2 to S2 (mm. 178-186)

S2 link

R1:\TR1.2 (mm. 33-34)

new theme

The orchestral Tutti Interjection (TI) immediately succeeds at measure 198. Once again, the motif is used to construct this TI and it continues to be incorporated in the texture, especially in the next coming episode of measures 199-216. In the orchestral part of this episode, the motif is first used in the manner of stretto and repetition in measures 199-202, and then it takes over the course of the accompaniment part and expands into a sequential section at measures 203-210.

Furthermore, the motif becomes the foundation of the dominant pedal of C minor (mm. 212-215).

While the orchestra plays the motif-based accompaniment (mm. 199-215), the soloist performs a free-style episode that precisely demonstrates the clarinet as an agile instrument. As Example

3.16 shows, the soloist’s melody spans three octaves. Moreover, the melody swings swiftly between the chalumeau and clarino registers.

Example 3.16 S2 (mm. 199-206)

Because of the wide melodic range in the soloist’s part and the modulation from Bb major to C minor, the section of measures 199-210 sounds unsettled. Only when the dominant pedal of C minor is established (m. 212) and the soloist plays the familiar arpeggio figures from the TR3 (mm. 102-106 = mm. 212-216) does the music become stable. This short episode comes to an HC in C minor at measure 216, which prepares the onset of the next action. This interior point—C minor: HC (m. 216)—is best interpreted as Mitte according to Konrad Küster.23

After three measures of TI and the soloist’s linking passage (mm. 216-218), Spohr skillfully opens the next zone (m. 219) in C major instead of continuing the previous C minor.

Although the first half of the S2 section includes a new theme, the second half of this section, starting from measure 219, recycles the S1.1 theme and begins to prepare the arrival of recapitulation. As illustrated in Example 3.17, the S1.1 is first iterated in C major at measure 219.

Then, the following TI and the soloist’s linking passage (mm. 226-228) resemble the earlier materials in measures 216-218 except that the motif is added into the texture in the latter TI. At measure 229 the S1.1 is restated in C minor but quickly modulates to Eb major. Soon, the harmony locks to an active dominant chord at measure 234 that launches the Retransition (RT).

Here, the soloist performs a series of the motif while the orchestra plays the sixteenth figures that

23 Hepokoski and Darcy, 571. 51

come from the preceding TI (mm. 226-227). Finally, the S2 section concludes in pianissimo dynamic (m. 240) but immediately proceeds to the recapitulation S3 without a Ritornello 3 (R3).

Example 3.17 S2 (mm. 216-240) S1.1 theme mitte link

cm CM

link S1.1 theme

TI motif

Recap.

The recapitulation (S3) opens at measure 240 with the R1:\P theme. Because this theme is first played by the orchestra and then by the soloist, instead of being played by the soloist exclusively, like the presentation in the exposition (S1, mm. 72-80), this recapitulation is recognized as an orchestral-lead recapitulation according to Hepokoski and Darcy. The S3 traces all the zones within the S1 except this entire S3 is in Eb major with a brief visit in Cb major. The

S-space within the S3 is articulated by an Essential Structural Closure (ESC) at measure 298, before the repetition of the DE1.1 and a slightly modified version of the DE1.2. The movement closes with a short Ritornello 4 (R4, mm. 323-331) that is based on the R1:\Codetta.

To summarize, the first movement of the Clarinet Concerto No. 2, Op. 57 shows Spohr’s economic treatment of the motif. Although the motif is evident in each zone, it is not as exclusive as in his First Clarinet Concerto’s first movement that is understood as a “wild card”

Type 5 sonata. Especially, Spohr introduced a new theme in the S2 of the Second Concerto’s first movement. As a whole, the movement resembles Koch’s Subtype C sonata form—three- ritornello and two-solo variant, suppressing or minimizing the potential tutti-effect (“R3” of

Subtype B) at the tonic return.24 Moreover, the clarinet soloist’s melodies cover all the registers of the instrument. The melodies exhibit the fortspinnung compositional technique. Also, the frequent modulation is another special feature in this movement. Often, a melody travels through

24 Hepokoski and Darcy, 437. 53

several key areas within a short period of time. In all, this concerto movement certainly is a challenge for both performer and scholar.

Example 3.18 Subtype C in Spohr’s Clarinet Concerto No. 2, Op. 57, 1st movement

Material from R1 and S1

R1 S1 R2 S2 [“S3”] R4 Soloist

Orchestra I I V V V vi, VI I I

Diagram 3.2 Ludwig Spohr, Clarinet Concerto No. 2 Op. 57, 1st movement

Ritornello 1

R1:\P mm. 1-8 Eb major; clarinetist plays a solo passage at mm. 4-8

R1:\TR1.1 mm. 8-20 modulates to C minor; motif & scale-wise phrases

1.2 R1:\TR mm. 20-35 modulates to Bb major; motif & sequential fragments

R1:\MC mm. 35-43 modulates to Db major; dotted rhythm of the motif

R1:\S mm. 44-56 modulates to Eb major

EEC m. 56 Eb major: PAC

R1:\C mm. 56-67 PAC at m. 67; combines TR1.1 and TR1.2 elements

R1:\Codetta mm. 67-72 PAC at m. 72; R1:\MC based

Solo 1

R1:\P mm. 72-80 Eb major; same as R1:\P but all is played by soloist

R1:\TR1.1 mm. 80-88 I:PAC at m.88; the orchestral part is the same as R1:\TR1.1

TI1 mm. 88-90 CF

1.2 R1:\TR mm. 90-100 modulates to Gb major

TI1 mm. 100-102 CF; same material as mm. 88-90

1.3 TR mm. 101-106 dominant pedal of Bb major

R1:\MC mm. 106-112

Link mm. 112-114 soloist picks up the previous TI’s dotted rhythm

1.1 R1:\S mm. 115-122 Bb major; based on the first half of the R1:\S—mm .44-48

TI2 mm. 122-125

R1:\S1.2 mm. 126-131 based on the second half of the R1:\S—mm. 48-52

EEC m. 131 V:PAC

DE1.1 mm. 131-146

DE1.2 mm. 147-158 V:PAC at m. 158

Ritornello 2

R1:\TR1.1 mm. 158-165

collage mm. 166-180 mixture of various zones: R1:\TR1.2, R1:\S, and R1:\TR1.1

Solo 2

Link mm. 180-182 Linkage technique

New theme mm. 183-190; mm. 191-198 Bb major; antecedent and consequence phrases

TI m. 198

Episode mm. 199-216 soloist’s free style vs. motif; Eb major → C minor

Mitte m. 216 C minor: V

TI mm. 216-218

Link m. 218

S1.1 mm. 219-226 C major

TI mm. 226-228

Link m. 228

1.1 S RT mm. 229-240 C minor → Eb major; RT begins at m. 234

Solo 3

R1:\P mm. 240-248 orchestra leads; Eb major

R1:\TR1.1 mm. 248-256

TI1 mm. 256-258

1.2 R1:\TR mm. 258-268 modulates to Cb major

TI1 mm. 268-269

1.3 TR mm. 269-274 modulates to Eb major

R1:\MC mm. 274-279

Link mm. 279-281

R1:\S1.1 mm. 282-289

TI2 mm. 289-292

R1:\S1.2 mm. 293-298

ESC m. 298 I:PAC

DE1.1 mm. 298-315

DE1.2 mm. 315-323 modified DE1.2

Ritornello 4

R1:\Codetta mm. 323-331

Section 3. Clarinet Concerto No. 3 in F Minor, WoO 19

In March, 1821 Spohr received an invitation from Hermstedt to compose a new clarinet concerto to be presented at the Alexisbad in the Harz Mountains. The performance took place on

July 27, 1821. This concerto is similar to his previous two clarinet concertos, featuring extensive melodic range, frequent modulation, and economical treatment of the motifs; however, it exhibits its own unique elements.

Unlike the Clarinet Concerto Nos. 1, 2, and 4, the first movement of the Concerto No. 3 begins with a grand fortissimo Ritornello 1 (R1). The Primary Theme (R1:\P, mm. 1-10) is a sentence phrase structure. This R1:\P is immediately followed by three measures of Transition

(R1:\TR) that takes the music from F minor to F major. The next zone, Secondary Theme (R1:\S, mm. 15-39), is particularly interesting. The S theme (mm. 15-25) is first stated in F major, and it is an elaborated sentence phrase structure as well. This theme ends with a dominant chord at measure 25, but after a short Caesura Fill (CF), the S theme is reiterated at measure 27 in F minor. In this latter S theme statement (mm. 27-40), the melody progresses to a different resolution: it spins out on the ideas of the dotted rhythm and trills before it merges to the Closing zone (R1:\C) at measure 40. As a whole, the R1:\S space is best understood as R1:\S1.1 → CF →

R1:\S1.2, which is demonstrated in Example 3.19. Similarly, in Spohr’s Clarinet Concerto No. 1 and No. 2, the S space also comprises S1.1 and S1.2. In his First Clarinet Concerto, the S theme in the S1 section is stated twice with the two instances separated by a filler passage; and the S1.1 ends on a dominant chord and the S1.2 concludes with a PAC. Furthermore, in the Second

Clarinet Concerto the R1:\S theme is divided into two halves within the S1 section. The former is used as the S1.1, and the latter is incorporated into the S1.2 in the S1. A Tutti Interjection (TI) is inserted between the two sections.

Example 3.19 R1:\S (mm. 15-39)

R1:\S1.1 CF R1:\S1.2 merges mm. 15-25 mm. 25-27 mm. 27-40 R1:\C F major modulation F minor

In addition, Spohr’s economical treatment of the motif is also found in the R1 of his

Third Clarinet Concerto, first movement. The dotted rhythm and trills in the opening R1:\P (Ex.

3.20) are evident in the Transition zone (R1:\TR). Later, the Secondary Theme (R1:\S1.1) also shows a variation of the motif. The motif is further developed in measures 37-39 via fortspinnung. Finally, in the Closing space (R1:\C) the motif first turns into sequential passages

(m. 41), and then it is recalled again at measure 51. An annotated score of this section is provided in Example 3.20. Although the motif spreads out in several locations within the R1, it exhibits two opposite characters: the muscular character in a traditional sense, such as the opening of this movement; and the cantabile, like the character found in measure 33.

Example 3.20 R1 (mm. 1-58)

motif R1:\P

F minor

R1:\TR

motif R1:\S1.1

F major

CF R1:\S1.2

V F minor

fortspinnung

R1:\C1.1 motif

R1:\C1.2

While the orchestra plays the concluding cadence of the R1 section (mm. 56-58), the clarinet soloist comes in at measure 56 with eight beats of note C before the reiteration of R1:\P in the Solo 1 (S1). This note C is best interpreted as a link to the S1’s R1:\P statement. The R1:\P launches at measure 58 where the soloist performs only the first four measures of the R1:\P theme. Immediately, the soloist’s melody begins to develop; first, the melody expands to a wide

range that incorporates the clarino and chalumeau registers (mm. 62-64), then it undergoes a fortspinnung (mm. 65-68), and the musical tension starts to generate through the repetitive rhythmic pattern at measure 69.The melody reaches its climax at measure 71. A Tutti Interjection

(TI1) is then sounded right after, but the soloist interrupts this TI1 at measure 73 and plays a long note C. Unexpectedly, the R1:\P is being played again at measure 75, although this time, the

R1:\P moves to a different melodic resolution. Even though the two P-theme presentations share similar characteristics, such as wide melodic range and the sixteenth rhythmic figures, stating the

R1:\P theme twice within the S1’s P-space is an unorthodox procedure. In this context, this post

P material (mm. 73-86) is a best understood as the P-appendix (Ex. 3.21).

Example 3.21 R1:\P within the S1 (mm. 56-86)

Link R1:\P

R1:\C1.2

fortspinnung

TI1

V Link P-appendix

Next, the orchestra plays a short Tutti Interjection (TI2, mm. 86-88) after the closing of P- space. The TI’s idea is immediately picked up by the soloist in the Transition zone (TR) at measure 88, and this idea develops into a new theme that qualifies this TR for a sujet libre type of transition, which is designated as S1:\TR here. This TR (mm. 88-102) not only serves a modulatorial function (from F minor to Ab major), but also provides the thematic seed for the later Display Episode (DE). The triplets and syncopated rhythm of this S1:\TR are used to construct the DE that starts at measure 145 (Ex. 3.22). In fact, due to its sequential phrase structure and the technique difficulty this TR zone sounds like a DE.

Example 3.22 S1:\TR (Sujet libre type of transition, mm. 93-96); DE (mm. 145-148)

S1:\TR (Sujet libre type, mm. 93-96)

DE (mm. 145-148)

Following the S1:\TR is the Medial Close (MC, mm. 102-116), which serves dual functions. First, harmonically it provides further prolongation of the dominant pedal of Ab major.

Second, melodically it contains a virtuosic passage that not only supplies a “written-out” improvisation moment for the soloist, but it also helps to dissolve the S1’s P-space into S-space smoothly. As shown in Example 3.23, the Medial Close (MC) begins with the R1:\TR material, then the soloist chimes in with ascending arpeggios and descending chromatic scales. The melody becomes fragmented in both soloist and orchestra parts at measure 112, and finally the clarinet’s melody melts into the R1:\S1.1 theme at measure 116. It is noteworthy to mention that

in both Spohr’s Clarinet Concerto No. 2 and No. 3, the Secondary Theme (S) in the Solo 1 (S1) is preceded by a linkage. Especially in the Second Clarinet Concerto, the linking melody is based on the dotted rhythm that is used in both earlier Tutti Interjection (TI) and the following S theme.

However, in the Clarinet Concerto No. 3, the linking melody (mm. 111-116) inherits neither of the elements from the preceding and succeeding events. This linkage is unique to itself. In brief,

Spohr showed different ways of connecting P- and S-spaces in these two instances.

Example 3.23 MC within the S1 (mm. 102-116)

R1:\TR (mm. 12-15)

Link

R1:\S1.1

The Secondary-Theme zone (S) consists of two modules that are based on the R1:\S theme. The first one, S1.1, occupies measures 116-129, where the tonality modulates from Ab major to Gb major with a PAC at the end. The tonality continues to move from Gb major to E major and Ab major in the S1.2 (mm. 129-145). Finally, the Essential Expositional Closure (EEC) occurs at measure 145 and the Display Episode (DE) launches at the same time. Although it includes the material of sujet libre S1:\TR (mm. 93-102), this DE also contains other types of virtuosic passages, such as octave skips, arpeggios, and chromatic scales. To conclude, the DE finishes with a trill-cadence (PAC) in Ab major that elides with the Ritornello 2 section (R2).

Spohr introduced a new theme in the Ritornello 2 section (R2, Ex. 3.24). This new idea occupies most of the parts of the R2, and later merges to a reprise of the R1:\TR that modulates from Ab major to E major through a chromatic bass line: Ab → A → Bb → B → C → C# → C

→ B → E (mm. 176-181). Furthermore, the replay of the R1:\TR provides a gateway to the Solo

2 section (S2). It is possible that Spohr chose to recycle the R1:\TR material here because the S2 begins with the Secondary Theme (S) rather than the Primary Theme (P). There, the R1:\TR theme would serve a better role in connecting the R2 and S2.

Example 3.24 R2 (mm. 166-169)

new theme

The opening section of Solo 2 (S2) incorporates both S1.1 and S1.2 modules. They are separated by a Tutti Interjection (TI) at measure 191. However, the S1.2 is presented in the

orchestral accompaniment at measure 193 while the soloist plays the triplet sequential passages

(Ex. 3.25). Because in this section (mm. 193-202) the soloist’s part features repetitive rhythmic pattern and sequential phrase structure, it is best to interpret this space as a central action zone. In addition, the S1.1-space (mm.181-191) and central action zone (mm.193-202) contrast with their modal relationship—E major and E minor respectively. Correspondingly, the S1.1 and S1.2 within the Ritornello 1 (R1) exhibit the same property, F major and F minor.

Example 3.25 Central action (mm. 193-198)

S theme

E minor

The soloist’s triplet rhythm continues, but the tonality has begun to shift at measure 203.

It modulates from E minor to Eb major, and travels back to the home key of F minor at measure

205 where the i-V harmonic progression is further prolonged. The triplet rhythm is played throughout the section from measures 193-211, but the central action zone has merged to the

Retransition (RT) space undetected at measure 203. Furthermore, the triplets are used in the RT and even extend to the following Ritornello 3 section (R3). In other words, the triplet sequential passages cross three consecutive event zones: central action, RT, and R3. However, they serve different purposes according to their harmony and texture. The score of this section is reproduced in Example 3.26.

Example 3.26 Central action merges to RT, and continues to R3 (mm. 201-211)

Central action S2:\TR

E minor Eb major R3

F minor

Once again the Solo 3 section (S3) begins with a link (mm. 217-219), then the soloist’s melody moves onto the R1:\P with a different melodic fortspinnung. Contrastingly, there is no P- appendix within the S3. The music comes to the Medial Close (MC, mm. 234-248) that has the same materials as the MC (mm. 102-116) within the S1. Next, instead of continuing the F minor, the R1:\S1.1 is stated in F major— another example of modal relationship: R1:\P in F minor and

R1:\S1.1 in F major. The following R1:\S1.2 briefly visits Eb major, Db major, and back to F major.

The entire Secondary-Theme space (S) concludes with an Essential Structural Closure (ESC) at measure 277, where the Display Episode (DE) immediately follows. This DE contains the same material as the earlier DE except the ending is slightly modified.

The last section of the movement, Ritornello 4 (R4), recalls the new theme that is heard in the Ritornello 2 (R2). The final R4 is not straddled; however, the soloist plays another sujet 68

libre-based (mm. 93-96) passage beginning at measure 307 till the end of the movement (Ex.

3.27). The movement ends in F major instead of in its home key of F minor. Coincidently,

Spohr’s First Clarinet Concerto also has the same tonal plan: it begins in C minor but concludes in C major.

Example 3.27 R4 (mm. 307-317)

Sujet libre idea (mm. 93-96)

R2 theme

F major

To summarize, Spohr again shows economical treatment of the motif in this movement.

This movement also exhibits characteristics that are found in his earlier clarinet concertos, including extended phrase structure, interplay between the soloist and orchestra in the Medial

Close (MC) before the arrival of Secondary-Theme zone (S), the division of S theme—S1.1 and

S1.2—and frequent modulation. Nevertheless, this movement exhibits new features, such as the linkage, and the post P material “P-appendix.” In the final analysis, the first movement of

Spohr’s Clarinet Concerto No. 3 contains the structure proposed by Koch—Subtype A, seven- part format.25 Subtype A has three solo sections and four ritornellos. Example 3.28 demonstrates the sonata form in Spohr’s Third Clarinet Concerto, first movement.

Example 3.28 Subtype A in Spohr’s Clarinet Concerto No. 3, WoO 19, 1st movement

R1 S1 R2 S2 R3 S3 R4 Soloist

Orchestra i i III III VII vii i i I

25 Hepokoski and Darcy, 437. 70

Diagram 3.3 Ludwig Spohr, Clarinet Concerto No. 3, WoO 19, 1st movement

Ritornello 1

R1:\P mm. 1-12 F minor; ff dynamic

R1:\TR mm. 12-15 modulatory; this material is used in several locations

R1:\S1.1 mm. 15-25 F major; concludes on dominant chord

R1:\TI mm. 25-27 CF and modulatory in nature

R1:\S1.2 mm. 27-40 F minor; repeats S1.1 plus fortspinnung; ends on the tonic

R1:\C1.1 mm. 40-45 features the motif of dotted rhythm and scale-wise passage

R1:\C1.2 mm. 46-58 PAC at m. 67; overlapped by S1:\Link at m. 56

Solo 1

Link mm. 56-58

R1:\P mm. 58-71 F minor; fortspinnung and dominant pedal at the end

TI1 mm. 71-75 interrupted by the soloist’s linkage at m. 73

P-appendix mm. 75-86 reiterates P theme with different fortspinnung

TI2 mm. 86-88 the melody is picked up by soloist in the next event

S1:\TR mm. 88-102 sujet libre type of TR; mm. 93-94 is used in the DE

S1:\MC mm. 102-116 R1:\TR-based + interplay between soloist and orchestra

1.1 R1:\S mm. 116-129 Ab major; traces R1:\S1.1

R1:\S1.2 mm. 129-145 traces R1:\S1.2

EEC m. 145 Ab major: PAC

DE mm. 145-166 constructed by material from mm.93-102

Ritornello 2

New theme mm. 166-176

R1:\TR mm. 176-181 Ab major → E major

Solo 2

R1:\S1.1 mm. 181-191 E major

TI mm. 191-193 modulates to E minor

Central action RT mm. 193-211 merges to RT at m. 203, Em→ Eb→ Fm

Ritornello 3

RT mm. 211-219 F minor: dominant lock; S1:\Link starts at m. 217

Solo 3

Link mm. 217-219

R1:\P mm. 219-234 F minor

S1:\MC mm. 234-248 same as mm. 102-116

1.1 R1:\S mm. 248-261 F major → Eb major

1.2 R1:\S mm. 261-277 Eb major → Db major → F major

ESC m. 277 F major: PAC

DE mm. 277-296

Ritornello 4

R2 mm. 296-306 F major; same material as mm. 116-174

Codetta mm. 307-317 Soloist plays a DE-based codetta

Section 4. Clarinet Concerto No. 4 in E Minor, WoO 20

The Clarinet Concerto No. 4 was composed in Kassel, 1828 for Hermstedt’s performance at the Nordhausen Music Festival, June 12, 1829. The first movement of this concerto exhibits the same sonata form as the Third Clarinet Concerto—Subtype A, seven-part format.

Furthermore, this movement shows the compositional style found in other Spohr’s clarinet concertos. The detail of the sonata form in this movement is presented in the following analysis.

Example 3.29 Subtype A in Spohr’s Clarinet Concerto No. 4, WoO 20, 1st movement

R1 S1 R2 S2 R3 S3 R4 Soloist

Orchestra i i III III bIV I i i I

The thematic construction of this movement is highly motivic. Example 3.30 illustrates that the opening Primary Theme (R1:\P) provides two fundamental elements—melodic and rhythmic motifs. First, the melodic motif (mm. 1-4) is used in several event zones, including

Transition (TR), Closing (C), Display Episode (DE), and Ritornellos 2 and 4 (R2, R4); the motif also undergoes the transformation of diminution and fragmentation. Second, the rhythmic motif

(mm. 4-5) is evident throughout the movement as well. It mostly appears in the fashion of sequence and imitation. In addition, the dotted rhythm is further incorporated in the Secondary

Theme (S). In other words, Spohr continues the trademark of his economical usage of the motifs.

Example 3.30 R1:\P (mm. 1-8)

melodic motif rhythmic motif stretto

The first Transition module (R1:\TR1.1) occupies measures 17-32. In this space, the melodic motif is stated three times and following the third statement, the motif becomes fragmented before it elides with the R1:\TR1.2 (Ex. 3.31). The R1:\TR1.2 primarily consists of repetitive phrases that juxtapose above the D pedal, which serves as a pivot in the modulation of

G minor to G major. The rhythmic motif also takes part at measure 33 and soon becomes repetitive at measures 35-38.

Example 3.31 R1:\TR1.1 and R1:\TR1.2 (mm. 25-38)

melodic motif fragmentation

rhythmic motif R1:\TR1.2

diminution

repetition of the motif

The succeeding Secondary Theme (R1:\S) is a lyrical melody that contrasts with the previous Primary Theme (P). Correspondingly, this particular S theme is also divided into S1.1 and S1.2, in the same way as other Spohr’s clarinet concertos’ first movements. As shown in

Example 3.32, the R1:\S1.1 (mm. 44-54), a sentence structure phrase, starts in G major, then

modulates to E minor. The R1:\S1.1 elides with the R1:\S1.2 at measure 54, but the R1:\S1.2 only lasts for four measures and quickly merges to Closing space (R1:\C) at measure 58 without any cadence—an Essential Expositional Closure (EEC) is omitted at this point. While the upper strings play the descending sequential passages, the melodic motif is sounded in the bass part in the form of diminution. Finally, the Ritornello 1 section (R1) closes at measure 73 where the

Solo 1 (S1) begins.

Example 3.32 R1:\S1.1 and S1.2 merges to C (mm. 44-62)

R1:\S1.1

G major

R1:\S1.2

E minor R1:\C

motif

The soloist leads the Solo 1 section (S1) with the R1:\P theme at measure 73; however, the soloist plays only the first eight measures of the R1:\P, then the orchestra picks up the

remaining R1:\P theme at measure 81. Meanwhile, the soloist moves onto an ascending scale in triplets—a new rhythmic motif that will be further developed later in the movement.

The Primary Theme (P) space elides with the onset of Transition zone (R1:\TR1.1) at measure 89 where the orchestra leads for two measures before the soloist joins. Again, Spohr recycled the P theme in composing this TR1.1. The P theme is first heard in the orchestral part, which is topped with the soloist’s descending chromatic scale (mm. 92-96). After the orchestra’s two P-theme statements (mm. 89-97), the soloist presents the P theme again at measure 97, and the theme becomes fragmented in measures 101-102. In this zone (mm. 89-102), the tonality modulates from E minor to G major, and suddenly it goes to Bb major for a short time span at measure 103. The texture is further refreshed by a new theme that is interpreted as TR1.2 in the analysis (Ex. 3.33). This new theme incorporates both dotted rhythm and triplets, and yet it has a lyrical quality. Coincidentally, this TR1.2 is somewhat similar to the Secondary Theme (S); they have the same melodic outline. As Example 3.33 shows, the first note of each phrase in the TR1.2 and S theme is ornamented with arpeggios and followed by a descending gesture. The only difference is that the melodic range of the TR1.2 theme is grander.

Example 3.33 TR1.1, TR1.2 (new theme), and TR1.3 within the S1 (mm. 97-114); S theme

1.1 R1:\TR

P theme

1.2 TR new theme

TR1.3

melodic motif

d pedal S theme

After a brief visit to Bb major, the TR1.2 travels back to G minor and merges to TR1.3 at measure 110, where the P motif reoccurs in the orchestral part and the soloist performs a series of arpeggios above the long sustained dominant pedal. At measure 120 the soloist plays a triplet

linking passage before the coming Secondary-Theme zone (S). This particular procedure — which precedes the S zone with a linkage—is a default setting in Spohr’s clarinet concertos; he set up the S theme with a connecting phrase in all of his clarinet concertos.

Another of Spohr’s compositional trademarks is evident in the succeeding S1’s S-space: the S theme is composed with S1.1 and S1.2, and the latter S1:\S1.2 is slightly expanded. This structure can also be found in all of the first movements of his clarinet concertos. Next, the S zone elides with the Display Episode (DE) at measure 144. The melodic motif, with the transformation of rhythmic diminution, is played throughout the DE by the orchestra. The Solo 1 section (S1) closes with the soloist’s trills at measure 166, and the orchestra continues to play the melodic motif in the following Ritornello 2 section (R2, mm. 166-184).

The Solo 2 (S2) begins at measure 184. This section occupies only twenty-one measures: the most compressed S2 in Spohr’s clarinet concertos. After five beats of orchestral introduction, the soloist presents a new theme at measure 185 that is unique to itself in this movement (Ex.

3.34). This new theme comprises triplets and dotted rhythms, and is played twice in a different register adjacently (mm. 185-192). Similarly, this new euphonious melody also quickly turns into fragments (m. 193). However, these fragments provide a gateway for the merger of the new theme and Retransition (RT). When the soloist continues to play the fragments at measure 193, the tonality has shifted from Ab major to E major. Then, it modulates to E minor via modal relationship at measure 200. The RT further occupies the Ritornello 3 section (R3) where the orchestra plays the R1:\TR1.2 material (mm. 205-210) above the dominant pedal of E minor.

Finally, the soloist performs a brief filler passage and coalesces into the Solo 3 section (S3).

Example 3.34 S2 module (mm. 184-205)

new theme

Ab major S2:\TR

E major

modal relationship

E minor

The solo-led Solo 3 (S3) rotates all the event zones within the Solo 1 (S1) with some melodic variations. The tonality modulates from E minor to E major during the TR1.1 and TR1.2 modules, and remains in E major till the end of the movement. The final Ritornello 4 (R4) is concise, and it closes the movement with a grand tutti.

On the whole, Spohr’s compositional style in his last clarinet concerto is the same as his earlier concertos—the work he composed nearly twenty years ago. He constantly recycled and reworked the motif, therefore the entire movement sounded unified. Furthermore, Spohr introduced new themes in the S1’s TR-space and S2. The new theme in the S2 is special because it does not appear elsewhere in the movement. As for the harmonic language in this movement, the tonality modulates frequently, but Spohr seemed to be more interested in the modal relationship. This relationship is found in the TR1.2, TR1.3 to S1.1within the S1, and S2. Finally, this concerto movement is a seven-part format, same as the first movement of his Clarinet

Concerto No. 3.

Diagram 3.4 Ludwig Spohr, Clarinet Concerto No. 4, WoO 20, 1st movement

Ritornello 1

R1:\P mm. 1-17 E minor

R1:\TR1.1 mm. 17-32 E minor → G minor; P-based

R1:\TR1.2 mm. 32-44 G minor → G major; D pedal

R1:\S1.1 mm. 44-54 G major → E minor

1.2 1.2 R1:\S C mm. 54-73 S merges to C at m. 58

Solo 1

R1:\P mm. 73-89 soloist introduces new rhythmic motif

1.1 R1:\TR mm. 89-102 E minor → G major; orchestra-led TR

1.2 TR mm. 103-110 G major → G minor; new theme

1.3 TR mm. 110-120 G minor → G major; motif is used in the orchestral part

1.3 Link mm. 120-121 soloist picks up the triplet rhythm in TR

1.1 R1:\S mm. 122-132 G major

1.2 R1:\S mm. 132-144

EEC m. 144 G major: PAC

DE mm. 144-166 motif is used in the orchestral part; PAC at m. 166

Ritornello 2

R1:\P mm. 166-184 G major → Ab major

Solo 2

New theme RT mm. 185-205 new theme merges to RT at m. 193

Ritornello 3

RT mm. 205-210 E minor: dominant lock; R1:\TR1.2 based

Fill mm. 210-215 soloist’s passage elides with the onset of the solo-led recap.

Solo 3

R1:\P mm. 215-231

1.1 R1:\TR mm. 231-248

1.2 TR mm. 249-256

1.3 TR mm. 256-266

Link mm. 266-267

1.1 R1:\S mm. 268-278

1.2 R1:\S mm. 278-290

ESC m. 290

DE mm. 290-313

Ritornello 4

R1:\P mm. 313-324 E major

Section 5. Conclusion

All of Spohr’s clarinet concertos consist of three contrasting movements in a fast-slow- fast sequence. The fast movements are considerably more expansive than the slow movements

(Table 1). Clarinet Concerto No. 1 is the only one of the four concertos that begins with a slow orchestral introduction. In addition, its Ritornello 1 (R1) only consists of two reprises of the

Primary Theme (P), but all of the other three concertos have an R1 that contains a P theme, a

Transition (TR), a Secondary Theme (S) and a Closing zone (C). In other words, the R1 of

Clarinet Concerto No. 1 serves the introductory/anticipatory function; and the R1 in the Second,

Third, and Forth Concertos serve expositional-rhetoric and referential-layout functions. Also, a unique feature in the R1 of the second concerto is that the soloist enters at measure 4 for four measures during the opening orchestral tutti. This kind of scheme is rare. The best example of this is Beethoven’s Piano Concerto No. 5, Emperor, where the orchestral tutti is interrupted by the soloist’s extended display passage.

Table 1 Length of Spohr’s Clarinet Concertos

Clarinet Concertos 1st Movement 2nd Movement 3rd Movement No. 1 in C minor, Op. 315 39 320 26 No. 2 in Eb Major, 328 52 246 Op. 57 No. 3 in F Minor, 317 97 399 WoO 19 No. 4 in E Minor, 324 71 250 WoO 20

Each of the concerto movements contains identifiable motivic components which lend themselves to thematic manipulation. The most extreme treatment of the motifs is in Spohr’s

Clarinet Concerto No. 1, where the idée fixe motto spreads throughout the movement. As a result, the movement of this concerto is a “wild card” type of concerto movement.

These motifs often recur in the orchestral part as an accompaniment to the soloist’s part, and they frequently undergo the process of repetition, sequence, fragmentation, and diminution.

A similar motivic figure is used in the second and third movements so the concerto as a whole sounds homogeneous. Such compositional style can be found in several of Spohr’s violin concertos as well, and the best examples of this are his Violin Concerto Nos. 7 and 11.

The Solo 1 section (S1) does not present a new theme in any of the clarinet concertos.

However, an interesting structural feature in all concertos, except No. 3, is that the Transition zone (TR) is further embellished immediately after its first appearance. The primary purpose is to shift the spotlight to the soloist, but this developmental activity creates an illusion of the displacement of Display Episode (DE) that is supposed to occur after S-space. Although

Concerto No.3 does not have a lavish TR, its motif is the foundation of the later DE.

Another prominent property of the Solo 1 (S1) is that the Secondary Theme (S) is preceded by a linking passage. The procedure of having an S zone that follows a linkage is found in all four clarinet concertos, which suggests that this is a default setting in Spohr’s concerto composition. Moreover, the S space is divided into S1.1 and S1.2. In the first movement of

Clarinet Concerto Nos. 1, 3, and 4, the initial S1.1 is reprised as S1.2 but the latter S1.2 moves onto a different melodic resolution. In the Second Clarinet Concerto, the R1:\S theme is divided into two segments and each one is incorporated in the S1.1 and S1.2 within the S1 respectively.

However, Spohr showed several different designs of the Ritornello 2 (R2). In the Clarinet

Concerto No. 1 and No. 4, the R2 is based on the R1:\P theme. The R2 of the Second Concerto recycles the materials from several event zones, but the R2 of Concerto No. 3 contains a new theme that has not been heard in the preceding sections.

In all of Spohr’s clarinet concertos, the development Solo 2 (S2) is short in proportion compared to the dimensions of the exposition and recapitulation. Although Spohr showed significant economical usage of the motifs throughout the movement in each concerto, the S2 of

Clarinet Concerto No. 2 and No. 4 contains new theme—especially in the Concerto No. 4, the new theme occupies the entire S2 space. In addition, the melody of the S2 in Concerto No. 1 contains little essence of the Secondary-Theme idea (S). Overall, the structure of S2 in Clarinet

Concerto Nos. 1, 2, and 4 is considered episodic rather than rotational.

Finally, all of the Solo 3s (S3) are rotational—they trace the modules from the Solo 1

(S1). The Ritornello 4 (R4) sections are not straddled by a soloist’s cadenza. In fact, there is no cadenza in any of Spohr’s clarinet concertos. However, the soloist plays a virtuosic passage in the final codetta section in the Concerto No. 1 and No. 3. In conclusion, the structure of the first movement of Concerto No. 1 is similar to Koch’s sonata form Subtype B; No. 2 is correspondent with Subtype C; and No. 3 and No. 4 resemble Subtype A.

Another pronounced stylistic feature of clarinet concertos is Spohr’s coloristic harmonic language, which influenced several prominent Romantic composers, including Chopin and

Wagner.26 First, Spohr showed a preference for minor key. Clarinet Concerto No. 2 is the only one in a major key. Second, the median and modal relationships are often found in between the modules within a movement, and, on a large scale, in between the movements within a concerto.

These tonal plans are also evident in his violin concertos. Third, these clarinet concerto movements exhibit a considerable freedom of modulation within a single zone. The result of these harmonic progressions, particularly exemplified in the Transition space (TR), is a coloristic effect rather than a tensional force. These progressions usually involved a diminished-seventh chord, Neapolitan sixth, and augmented sixth, especially the German augmented-sixth chord.

26 Alfred Einstein, Music in the Romantic Era (New York: W.W. Norton, 1957), 241. 85

Despite the fact that these concertos exhibit extravagant virtuoso qualities, there is no written cadenza provided for the soloist, nor is there an opportunity for improvisation. The great technical difficulty is caused by Spohr’s violinistic writing. It is easy to find many thematic figures in the clarinet concertos which resemble Spohr’s violin concertos, especially the ornamental trills and wide leaps. Since Spohr was a highly accomplished violinist, he possibly had his own instrument in mind when composing in other media. Nevertheless, Spohr chose his clarinet concertos to be among the new works he composed for several music festivals in

Germany, and they received enormous kudos from Spohr’s contemporaries.

Chapter IV Carl Maria von Weber’s Clarinet Concertos

Carl Maria von Weber, who was acquainted with Spohr for years, composed several concertos and concertinos for piano, clarinet, bassoon, and French horn (Table 2). Most of those concertos were written during his early compositional career. The two piano concertos are lesser known by pianists while his Concert-Stück Op. 79 remains popular. Several scholars have shown interest especially in Weber’s piano concertos, but, they emphasized early Romantic instrumental writing style.

All of Weber’s concertos follow the three-movement plan except the Concert-Stück which has four movements. The study of the formal structure of Weber’s two clarinet concertos is less than substantial despite their frequent appearance on concert programs. In these two clarinet concertos, Weber shows the freedom from formal restraint and dramatic operatic-writing, especially in the first movements.

Table 2 Weber’s concerto compositions

Piano Concerto No. 1 Op. 11 in C major (1810, published 1812) Clarinet Concertino in Eb major Op. 26 (1811, published 1814) Clarinet Concerto No. 1 Op. 73 in F minor (1811, published 1822) Clarinet Concerto No. 2 Op. 74 in Eb major (1811, published 1823) Bassoon Concerto in F major Op. 75 (1811, revised 1822, published 1824) Piano Concerto No. 2 Op. 32 in Eb major (1811-12, published 1814) Concert-Stück Op. 79 in F minor (1821, published 1823)

Section 1. Clarinet Concerto No. 1 in F Minor, Op. 73

Weber’s two clarinet concertos owe their origins to the artistry of the principal clarinetist of the Bavarian Court Orchestra in Munich, Heinrich Baermann. In the spring of 1811, Weber wrote the Concertino Op. 26 for him. The piece brought Baermann’s first public concert to a sensational conclusion in Munich on April 5, 1811, delighting the King Maximilian of Bavaria to such an extent that the king commissioned two more concertos from the then largely unknown composer. Within a matter of weeks, Weber had polished off the two concertos; both were dedicated to Baermann, due to the ties of friendship and to the clarinetist’s contribution to their composition. The first clarinet concerto, completed on May 17, 1811, was first performed by

Baermann on June 13th in Munich, then later before the King and Queen at Nymphenburg Castle on September 7th. On March 25, 1812, Weber and Baermann performed together during a concert tour in Berlin. The second concerto was written immediately afterwards and was first performed on November 25th in Munich, according to Weber’s diary “with frantic applause owing to Baermann’s godlike playing.”27 The works were not printed forthwith until 1822 when, with Weber’s worldwide reputation having been established by Der Freischütz, he could hand both works to the publisher, Schlesinger of Berlin, who issued them at once as Op. 73 and Op. 74, taking as a basis not the chronology of the origin of the works, but of the printing.

The opening Ritornello 1 (R1) of the Clarinet Concerto No. 1 Op. 73 in F minor contains only three zones—Primary Theme (R1:\P), Transition (R1:\TR), and Closing (R1:\C); this design is rather concise compared to Mozart and Beethoven’s concertos. To make it even more compact,

Weber uses the same rhythmic and melodic motifs for all three zones—a half note followed by an dotted rhythm and three eighths which outlined the tonic triad, and then a dominant seventh

27 Carl Maria von Weber, Concerto F minor for Clarinet and Orchestra Op.73, forward by Max Alberti (London: Ernst Eulenburg Ltd.), I. 88

chord (Ex. 4.1). This motif is first played with pianissimo dynamic and is interrupted by a surprising fortissimo dominant chord in measure 11, and then the orchestra repeats the opening motif in fortissimo which is designated as R1:\P1 here. Unexpectedly, the same motif is reiterated in Db major, a six above the tonic, rather than in Ab major—the relative major of F minor. This

Db major area starting in measure 26 serves as the TR zone. Although it elides with the P zone, there is no cadence that separates the end of P and the beginning of TR, as one can easily find in other concertos composed by Mozart, Beethoven, and Weber’s contemporaries. The long awaited cadence occurs in measure 46, followed by a caesura. Due to the lack of cadence prior to measure 46 and to the constant fortspinnung on the dotted rhythm, the R1 sounds restless and agitated. In short, the R1 of this concerto movement, measures 1-47, is the only Weber’s concerto that has such compact formal design. This R1, suggested by Hepokoski and Darcy, serves only introductory/anticipatory functions. All the other Weber’s concertos, including the

Second Clarinet Concerto, the two Piano Concertos, and the Bassoon Concerto, have a more complex R1 that fulfills the expositional-rhetoric and referential-layout functions.

Example 4.1 R1:\P0 (mm. 1-11); R1:\TR1.1 (mm. 26-33); and R1:\C (mm. 38-47)

R1:\P0 (mm. 1-11) th arpeggiated tonic triad dominant 7 chord

7 F minor: I V

R1:\TR1.1 (mm. 26-33) motif

Db minor: dominant pedal ------expansion of the dotted rhythm V7 89

R1:\C (mm. 38-47)

F minor

The drama continues to intensify when the solo clarinet enters with the new Primary

Theme (S1:\P1.1, mm. 48-63) that has no correlation to the opening R1:\P1. The lyrical S1:\P1.1

(Ex. 4.2) contradicts the staccatos in the R1:\P1. Indeed, Weber tends to dramatize the soloist’s entrance by starting Solo 1 (S1) with either new theme or a contrasting melodic style in his concertos. In the first movement of his Second Clarinet Concerto Op. 74, the solo clarinet opens with a grand gesture— S1:\Ppreface that encompasses the clarino and chalumeau registers before the R1:\P is stated in the S1 section (Ex. 4.3). This operatic preface material is later played by the orchestra to launch Ritornello 2 (R2) and Ritornello 3 (R3) at measures137 and 192 respectively.

Furthermore, Weber takes the first five notes of this melody and elaborates them in the

Transition zone (TR). Moreover, in the Second Piano Concerto the pianist springs to a cadenza like S1:\Ppreface without orchestral accompaniment (Ex. 4.4), which is then followed by an extensive technique display passage supported by the fragments of the R1:\S.

Example 4.2 S1:\P1.1 (mm. 48-63) of Clarinet Concerto No. 1, Op. 73

Example 4.3 S1:\Ppreface (mm. 50-53) of Clarinet Concerto No. 2, Op. 74

Example 4.4 Piano Concerto No. 2, Op. 32, Ppreface (mm. 43-56)

The first PAC is finally heard at measure 73, and it is followed by an orchestral Tutti

Interjection (TI, mm. 74-83) which plays an important rhetorical role in this concerto movement.

This TI is not only used to close the Primary-Theme zone (P), but is also used to close the movement (Ex. 4.5). It appears at the final ten measures of the movement with the same 91

instrumental arrangement, and the same orchestra-solo interplay relationship. This kind of design is unprecedented in classical concertos and in other Weber’s concertos where the first movement ends with R1:\P or R1:\C material. Next, the movement proceeds to a Transition section (TR) where the low strings play the opening R1:\P, which is then answered by the solo clarinet. The clarinet continues to play the consequence phrase and closes the TR space by a half cadence in

Ab major at measure 104. The strings respond the half cadence with a two-measure Caesura Fill

(CF) and goes on to the orchestral tutti (mm. 106-109) in fortissimo.

Example 4.5 TI within the S1 (mm. 74-83); last 10 measures of the 1st movement

TI within the S1 (mm. 74-83)

Last 10 measures of the 1st movement

In measure 110, the soloist plays the Secondary Theme (S) which has a lyrical quality similar to the S1:\P1.1. Both Primary Theme (P) and Secondary Theme (S) comprise two subphrases; furthermore, they both have a descending gesture and the same starting pitches:

written B5 and C6 (Ex. 4.6). Next, the S zone elides with the clarinet’s Display Episode (DE) at the Essential Expositional Closure (EEC) at measure 130. This DE contains two modules, and the second of which is a cadenza composed by Baermann. It is clear that Baermann composed this cadenza based on the central action material from measures 198-214 that primarily comprises scale-like passages in sixteenths. Above all, the most fascinating feature in this rotation is that in the Ritornello 2 (R2, mm. 145-170) the modules from Ritornello 1 (R1) are being presented in reverse order: R1:\TR1.2 appears first, followed by R1:\ TR1.1, and then R1:\P1

(Ex. 4.7). Moreover, in this movement the last orchestral ritornello (R4) is launched by the second phrase of R1:\P1 and then the first phrase of R1:\P1. This kind of structure is used in other

Weber’s work. In the same way, Weber reversed the order of first and second themes in the recapitulation of his Trio for Flute, Cello and Piano in G minor, Op. 63.

Example 4.6 S1:\P1.1 (mm. 48-55) and S theme (mm. 110-117)

S1:\P1.1

F minor

S theme

Ab minor

Example 4.7 R2 (mm. 145-170)

R1:\TR1.2, mm. 34-35

R1:\TR1.1, mm. 26-29

The second phrase of R1:\P1, mm. 20-25

The Solo2 (S2) begins with the inverted version of S1:\P1.1 in C minor and then the

Secondary Theme (S) in Bb major. Next, the central action contains two modules. The first module, measures 192-197, is thematically parallel with the first module of Display Episode

(DE1.1) within the Solo 1 (S1). In the second module (mm. 198-222), the solo clarinet is accompanied by three statements of R1:\P that is played by bassoon, flute, and oboe respectively.

The S2 space continues to extend to the Retransition zone (RT) initiated by French horns in measure 223 (Ex. 4.8). The material of this RT echoes the earlier Transition (TR) within the S1:

French horns state the R1:\P motif which is then answered by the solo clarinet over the dominant pedal played by the strings. Such an interrelationship is the same as TR in the S1; however, this

RT rotates only half of the S1 TR and elides to the soloist’s S1:\P1.1 at measure 231 where the

orchestra still holds the dominant. Next, the clarinet proceeds to play an arpeggio passage supported by the dominant pedal, and finally the F minor tonic triad arrives at measure 249 with orchestral tutti of R1:\P1. At this point, the listener may realize, retrospectively, that the recapitulation Solo 3 (S3) had begun a few measures early at measure 231 instead of at measure

249. In other words, the end of the development and the recapitulation not only thematically glides from one to another seamlessly, but it also builds on a long span of dominant chord. The solo clarinet’s central action ends on viiº7/V, then the RT locks on the dominant chord, and lastly

7 the entire S3 is supported by V . As a result, the definitive return of the tonic key does not coincide with the restatement of S1:\P1.1 and the listener may not immediately detect the onset of

S3. This unorthodox approach to sonata form, non-concurrent return of the tonic and recapitulation, is not exceptional in Weber’s compositions. In the first movement of Weber’s

Symphony No. 1 in C major, the recapitulation begins with the primary theme in C major but harmonized in V7/IV, and C major does not return until the arrival of a S theme. Similarly, the recapitulation of his Piano Sonata No. 1 begins in Eb major, the return of tonic key C major coincides with the revisit of TR.

Example 4.8 Central action and RT within the S2, and S3 (mm. 217-252)

F minor

S2 S3 R4 Melody Central Action1.2 RT S1:\P1.1 S1:\P1.2 fortspinnung R1:\P1

R1:\P based S1:\P1 modules R1:\P return

it shortens the S3; a pathway to R4

Harmony f minor: viiº7/V V-lock V7 I Dominant

Nonetheless, the economical usage of motifs and the compressed length of Solo 3 (S3) also conceal the onset of recapitulation from listeners. First, one could argue that the French horns’ Retransition (RT) at measure 223 could be interpreted as Ritornello 3 (R3). However, the 96

extension of dominant chords begin from a preceding central action and the clarinet’s active role places this RT into Solo 2 (S2) rotation; as a result, there is no Ritornello 3 (R3) in this particular movement that would potentially help one to recognize the launch of S3. Furthermore, because the thematic material of RT is based on the Primary Theme (R1:\P), the recapitulation still upholds the continuance of melody even though it does not comprise R1:\P, and in fact, it would be redundant to begin the recapitulation with R1:\P. Second, the S3 only consists of eighteen measures, which is relatively short in comparison to its respective exposition. It tracks only parts of S1:\P1.1 and S1:\P1.2 and moves on to a fortspinnung of the melodic material. Further, this fortspinnung is not only used to shorten the length of S3 but it also generates more tension and energy toward the arrival of tonic. As a whole, the S2 successfully merges to S3 by the prolongation of the dominant chord, the omission of R3 avoids the redundancy of the double- start recapitulation, and finally the fortspinnung provides a pathway to conclude the S3 and carries harmonic tension to its satisfactory resolution.

The final ritornello (R4) is divided into two halves by the clarinet’s cadenza-like passage

(mm. 258-273). The orchestra first plays the second half of R1:\P1 and then the first part of it, meaning measures 249-257 map to measures16-24, and measures 273-277 correspond to measures 12-16. This is another example demonstrating how Weber rearranged the order of materials. Next, the clarinet brings the movement to its climax by the stream of trills in measures

266-273 and arrives on clarinet’s highest pitch of the movement before finally ending with the

S1’s TI material.

To summarize, the first movement of Carl Maria von Weber’s Clarinet Concerto Op. 73 exhibits several significant features. The length of R1 is rather brief, and Weber further recycled the melodic and rhythmic motifs for all three zones—Primary Theme (P), Transition (TR), and

Closing (C)—and avoided periodic cadence. Another characteristic is the role of orchestral Tutti

Interjection (TI), which is used to articulate the S1:\P zone and to conclude the piece. Finally, the

Solo 2 (S2) proceeds to Solo 3 (S3) without a Ritornello 3 (R3) and the return of the tonic key does not coincide with the restatement of S1:\P in the recapitulation. This concerto movement closely resembles Vogler and Koch’s five-part plan (Subtype C)—three ritornellos and two solos as shown in Example 4.9. The second solo section (S2) comprises both developmental space and recapitulation, and there is no ritornello (R3) at the onset of the recapitulation. The formal structure of this movement is provided in Diagram 4.1 below. This concerto remains popular because of its splendid melodies and its contribution to clarinet repertoire, but one should also recognize Weber’s ingenious compositional strategies.

Example 4.9 Subtype C in Weber’s Clarinet Concerto No. 1, Op. 73, 1st movement

Material from R1 and S1

R1 S1 R2 S2 [“S3”] R4 Soloist

Orchestra i i III v IV, ii, bVII i i

Diagram 4.1 Carl Maria von Weber, Clarinet Concerto No. 1 Op. 73, 1st movement

Ritornello 1

R1:\P0 F minor. A pianissimo opening lands on a HC in fortissimo; the primary motif. R1:\P1 mm. 12-20, It reiterates the opening material. mm. 20-24, It is modulatory: from F minor to Db major (i→VI). mm. 24-25

1.1 R1:\TR mm. 26-33 Db major: dominant pedal. It is R1:\P based.

1.2 R1:\TR mm. 34-38 Db major: tonic pedal.

R1:\C mm. 38-47 F minor. R1:\P based.

Solo 1

S1:\P1.1 mm. 48-63 F minor. New material.

1.2 S1:\P mm. 64-73 DC occurs at m. 70 and followed by the first PAC at m. 73.

TI mm. 73-83 F minor: F pedal. It is R1:\P based and the soloist is active in the passage. It has important in rhetoric—it is used to close the movement.

TR mm. 84-104 Db major. Lower strings play R1:\P which is juxtaposed with the clarinet’s melody

MC mm. 104-109 Ab:HC CF: mm. 104-5

1.1 S mm. 110-130 Ab major. Its melodic shape similar with S1:\P . DC at m. 126.

EEC m. 130 Ab:PAC

1.1 DE mm. 130-145 Ab major; triplet figures.

1.2 DE m. 143

Ritornello 2

1.2 1.1 R1:\TR mm. 145-153 = mm. 34-35 (R1:\TR ); mm. 153-157 = mm. 26-29 (R1:\TR )

1 R1:\P mm. 157-62 = mm. 20-25 (R1:\P )

EEC m. 166 C minor: HC

Link mm. 166-170 orchestra led

Solo 2

S1:\P mm. 170-183 C minor. S1:\P1.1 is inverted.

S mm. 184-191 Bb major

1.1 1.1 Central action mm. 192-197 It is constructed by the triplet figure of DE .

1.2 Central action mm. 198-222 Gm-EbM-Fm. Woodwinds state R1:\P three times.

RT mm. 223-230 F minor: V-lock. S1 TR based (mm. 84-91)

Solo 3

1.1 S1:\P mm. 231-236 F minor: V. S1:\P based.

mm. 237-241 S1:\P1.2 based.

mm. 242-248 fortspinnung

Ritornello 4

Ritornello 4.1 mm. 249-257 F minor: PAC. R1:\P1 based (mm. 16-24)

mm. 258-273 F minor: ESC; non-thematic cadenza like passage constructed by scales and trills over the tonic pedal

Ritornello 4.2 mm. 273-277 R1:\P1, mm. 12-16

mm. 278-287 TI material from the S1

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Section 2. Clarinet Concerto No. 2 in Eb Major, Op. 74

Weber’s second clarinet concerto was finished on July 12, 1811 and was first performed on November 25 in Munich with great success because of Baermann’s superior performance.

The first movement of this concerto exemplifies the seven-part format (Subtype B) which contains four ritornellos. The feature of this type is that Ritornello 3 (R3) functions as a recapitulation and launches the return of tonic (Ex. 4.10).

Example 4.10 Subtype B in Weber’s Clarinet Concerto No.2, Op.74, 1st movement

Material from R1 and S1

R1 S1 R2 S2 R3 S3 R4 Soloist

Orchestra I I V V bVII ii I I I

The opening ritornello (R1) contrasts with Clarinet Concerto No. 1 sharply; first, it opens with a heroic characteristic. Secondly, it serves referential-layout function: this R1 contains zones of Primary Theme (R1:\P), Transition (R1:\TR), Medial Close (R1:\MC), Secondary

Theme (R1:\S), Essential Expositional Closure (EEC), and Closing (R1:\C). The R1:\P, as shown in Example 4.11 below, is constructed chiefly from a dotted rhythm and a descending arpeggio, with their fortissimo dynamic they produce a splendid sense. The succeeding R1:\TR can be divided into two parts, TR1.1 and TR1.2. Although both parts feature scale-like passages, TR1.2 is particularly interesting: first, Weber introduced a new melodic element—grace notes—to the

TR1.2. Additionally, the TR1.2 is unique to itself. It does not appear again anywhere else in this movement (Ex. 4.11). The Transition space (TR) closes with a Medial Close (MC) at measure 26 and it is immediately followed by the Secondary Theme (R1:\S), which is not only lyrical in contrast but it also has a playful attribute to the light dotted rhythmic figure and short tonal

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span—Eb major to G minor and back to Eb major before reaching the EEC at measure 39. The

Closing zone (R1:\C) also has two small modules, C1.1 and C1.2; the latter is used in the

Ritornello 2 (R2).

Example 4.11 R1:\P; R1:\TR1.2 (mm. 18-26); and R1:\S (mm. 30-39)

R1:\P

R1:\TR1.2 (mm. 18-26)

R1:\S (mm. 30-39)

The solo clarinet (S1) opens with a grand gesture, a S1:\Ppreface that encompasses the clarino and chalumeau registers before the R1:\P is reiterated (Ex. 4.12). Importantly, this

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operatic preface material is later played by the orchestra to launch Ritornello 2 (R2) and

Ritornello 3 (R3) at measures 137 and 192 respectively. Furthermore, Weber takes the first five notes of this melody and elaborates them into the sujet libre type of Transition (TR) in measures

85-92 as shown in Example 4.12.

Example 4.12 S1:\Ppreface (mm. 50-53) and Sujet Libre type of TR within the S1(mm. 85-92)

S1:\Ppreface (mm. 50-53)

S1:\TR1.3 (Sujet Libre type of TR, mm. 85-92)

The soloist continues to a statement of R1:\P theme (mm. 54-68), but the theme is played in a soft dynamic and is divided between the orchestra and soloist. The R1:\P then elides with

Transition zone (TR) which first reminds the listener of R1:\TR1.1 melody, but quickly it flourishes into a new extended melody and modulates to Bb major. This TR is an example of sujet libre type of transition. At measure 77, the TR1.2 comprises two sequential phrases. Next,

TR1.3 at measure 85 outlines the first five notes of the S1:\Ppreface as demonstrated in above

Example 4.12. Finally, TR1.4 reconfirms Bb major by the establishment of the F dominant pedal at measure 95 that later reaches the half cadence (HC) at measure 99. 103

The Secondary Theme (S, mm. 103-118) resembles the R1:\S theme except it is in the dominant key—Bb major and it is also concluded with an Essential Expositional Closure (EEC) at measure 118. The following Display Episode (DE) is rather expansive compared to Weber’s

First Clarinet Concerto. It comprises numerous arpeggios and scale-like passages with challenging tonguing and articulation technique. Though Weber did not compose a DE in his

First Clarinet Concerto, Baermann did. This DE certainly showcases Baermann’s exceptional skills and is much appreciated by any soloist. Nonetheless, this DE wraps up with the soloist’s brilliant trills that collide with Ritornello 2 (R2). The R2 first emphasizes the S1:\Ppreface material, then continues to the R1:\C1.2 element and a short linking passage (mm. 146-151) that serves a modulatory purpose—modulating from Bb major to Db major.

Several features indicate the structure of Solo 2 (S2) is episodic, not rotational. Measures

151-167 consist of two antecedent-and-consequence phrases as shown in Example 4.13. The melodies of the two phrases are new; however, they reflect the character of S1:\Ppreface and

Secondary Theme (S) respectively. The former phrase is marked grandioso, and like S1:\Ppreface it encompasses a wide register range of the instrument. The latter phrase, measures 159-167, labeled dolce exhibits both sweet timbre and S’s scherzando characteristic. Putting two such characteristically different phrases side by side and creating a fantasy-like quality is the hallmark of Weber as an opera composer, and this compositional style is frequently found in his piano concertos.

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Example 4.13 S2 Episodic (mm. 151-167)

antecedent consequence

antecedent

consequence

The scale of Solo 2 (S2) central action is undersized; it only lasts fourteen measures. As shown in Example 4.14 the motif of central action comprises a segment of sixteenths first heard at measures 14-15, R1:\TR1. In addition, this motif later plays an important role later in the

Retransition (RT). The central action zone is then concluded with a stream of trills that serves a modulatory function—to modulate from Db major to Eb major via a German augmented sixth chord. This chord further prepares the following RT zone that primarily builds on the dominant.

In the RT zone, the R1:\TR1’s sixteenths segment continues to spin out in the soloist part above the orchestra’s Bb dominant pedal. It is noteworthy that the soloist remains active throughout the

RT until the moment of recapitulation returns at measure 192 which is led by the orchestra. To summarize, S2 is highly compact; firstly, its episodic opening reflects the characters of

S1:\Ppreface and Secondary Theme; secondly, the short-lived central action is based on R1:\TR1’s sixteenths figure that continues to develop in the RT zone; and thirdly, the RT is located in S2 rather than in Ritornello (R3).

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Example 4.14 Central action (mm. 167-181); R1:\TR1 (mm. 14-15); RT (mm. 181-183)

Central action (mm. 167-181)

R1:\TR1 (mm. 14-15)

RT (mm. 181-183)

Lead by the orchestral tutti, the recapitulation begins at measure 192 where Weber used the S1:\Ppreface material rather than the R1:\P theme. The orchestra continues to the Closing material (R1:\C), and then the initial Ritornello 3 (R3) orchestral texture merges into the solo clarinet’s Secondary Theme (S) instead of backing up and restarting. This strategy avoids the redundancy of the double-start recapitulation. According to Hepokoski and Darcy, this is the most common option for the middle and later Mozart concertos, from Piano Concerto No. 6, K.

238 and onward, and it soon became the first-level-default option, especially in his piano concertos.28 In addition, this R3 S3 merger has been discussed in literature with much debate as to whether the R3 opening portion should qualify as a real ritornello or as merely a tutti interjection. In Hepokoski and Darcy’s Sonata Theory, it is regard as a ritornello pillar R3.

28 Hepokoski and Darcy, 585. 106

Once the decision has been made to merge the soloist’s part (S3) into a recapitulation that has begun with an orchestral ritornello gesture (R3), this may be accomplished in any number of ways. In the first movement of Weber’s Second Clarinet Concerto, the R3 only repeats the

S1:\Ppreface and omits the Primary Theme (P) and Transition (TR) material, then continues to

R1:\C-based passages and Caesura-Fill figure (CF) from measure 29. When the soloist enters at measure 205 in which the S3 begins, the Secondary Theme (S) is finally presented. It is clever of

Weber to insert the final part of CF right after the R1:\C at measure 204, because it provides a seamless merger from R3 to S3 and evidently the S starts with the same prefix as in previous R1 and S1 spaces (Ex. 4.15). Moreover, the R3 persists with fourteen measures which are longer than the norm. In Irving’s research, it is unusual for the R3 to be sustained without the soloist for more than eight bars.29 The longest R3s, frequently cited in this regard, are those found in

Mozart’s Piano Concertos No. 21, K. 467 and No. 27, K. 595. At the other extreme, the shortest are those in which the soloist enters within a bar or two of the onset of R3, namely, Mozart’s

Piano Concertos No. 6, K. 238; No. 15, K. 450; and No. 16, K. 451. Nonetheless, the R3 in

Weber’s Second Clarinet Concerto is longer than the average. It establishes its role as a R3 instead of merely just an orchestral tutti, and it further enables Weber to create a smooth R3

S3 merger.

Example 4.15 Recapitulation (mm. 192-220); CF and S theme (mm. 29-30)

Recapitulation (mm. 192-220)

R3 S3

S1:\Ppreface R1:\C1.1 R1:\C1.2 R1:\CF S1:\S ESC (mm. 39-42) (mm. 42-43 only) (m.2 9)

29 John Irving, Mozart’s Piano Concertos (Hants, England: Ashgate Publishing Limited, 2003), 50. 107

CF and S theme (mm. 29-30)

The following Solo 3 section (S3) reprises only the Secondary Theme (S). After reaching the Essential Structural Closure (ESC) at measure 220, the Display Episode (DE1.1) material is played in the closing space and continues to spin out: the length of this DE is greater than the one within the S1. Finally, a brief Ritornello 4 (R4) concludes the first movement with a statement of

R1:\P and a prolongation of a tonic chord.

Overall, the design of the first movement of Weber’s Clarinet Concerto No. 2, Op. 74 is grander than his First Clarinet Concerto, not only in the aspect of its formal structure, but also in the performance technique required from the soloist and the usage of the instrument. This movement consists of R1, S1, R2, S2, R3 S3 merger, and R4 with careful planning and intriguing compositional ideas in each zone. Moreover, the lengthy TR and DE in S1 truly showcase a soloist’s skill and the passages Weber composed indicate all registers of the clarinet and the capability of the instrument at that time. This concerto was also played by Baermann’s rival Hermstedt in Prague on the February 10 and 17, 1815, where Weber accompanied

Hermstedt at the second concert.

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Diagram 4.2 Carl Maria von Weber, Clarinet Concerto No. 2 Op. 74, 1st movement

Ritornello 1

R1:\P mm. 1-14 Eb major; begins with dynamic ff.

R1:\TR1.1 mm. 14-18

1.2 R1:\TR mm. 18-21, This section is unique to itself. mm. 21-26

R1:\MC mm. 26-30 Eb: HC MC

R1:\S mm. 30-39 Eb major.

EEC m. 39 Eb:PAC

1.1 R1:\C mm. 39-42

1.2 R1:\C mm. 42-49 No PAC.

Solo 1

preface S1:\P mm. 50-53 Eb major

R1:\P mm. 54-68 R1:\P material played in soft dynamic

R1:\TR1.1 mm. 68-76

1.2 S1:\TR mm. 77-84 sujet libre type of transition; Bb major

S1:\TR1.3 mm. 85-92 some essence of S1:\Ppreface

S1:\TR1.4 mm. 93-99

R1:\MC mm. 99-102

R1:\S mm. 103-118 Bb major

EEC m. 118 Bb major: PAC

1.1 DE mm. 118-130 Bb major: PAC at m. 130

DE1.2 mm. 130-137 dominant pedal

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Ritornello 2

preface S1:\P mm. 137-140 Bb major

1.2 R1:\C mm. 140-146 Bb major: PAC at m. 146

Link mm. 136-151 modulatory, lead by the orchestra

Solo 2

Episodic mm. 151-158 Db major

mm. 159-167

Central action mm. 167-175 based on S1:\TR material

mm. 176-181 modulates from f minor to Eb major

RT mm. 181-192 using S1:\TR motives; dominant lock

R3 S3

preface S1:\P mm. 192-198 Eb major; orchestra led

R1:\C1.1 mm. 198-201

R1:\C1.2 mm. 201-205

R1:\S mm. 205-220 soloist enters

ESC m. 220 Eb major:PAC

DE1.1 mm. 220-234 DE1.1 based

DE1.2 mm. 234-249

Ritornello 4

R1:\P mm. 249-252 Bb major

Extension mm. 253-255

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Section 3. Conclusion

Along with other Romantic composers, Carl Maria von Weber struggled to reconcile the formal demands of classical first movement design with the ongoing development of Romantic aesthetic. In respect to his instrumental compositions, Weber seemed more comfortable in composing variations, small-scale concert pieces and rondos, but he did attempt to wrestle with the sonata form by writing four piano sonatas, two symphonies, three piano concertos, two clarinet concertos, and some chamber music.

Weber’s sonatas and sonata form is characterized by Kathleen Dale as “far from uniform in style or design.” 30 She continues, “Each is differently planned as a whole…and no two movements of the same kind of form resemble one another at all closely in outline. The works are fascinating to study on account both of the many structural irregularities they display and of the composer’s unending resourcefulness in treating his musical ideas.” Correspondingly, the first movements of Weber’s two clarinet concertos echo Dale’s remark. The First Clarinet

Concerto’s first movement closely resembles Vogler and Koch’s five-part plan (subtype C)— three ritornellos and two solos. On the other hand, the Ritornello 1 (R1) is free from the constraint of the sonata expositional structure, and the Solo2 (S2) and Solo 3 (S3) are novel in terms of their extraordinary thematic rearrangement and orchestra-soloist interaction. The

Second Clarinet Concerto’s first movement exemplifies the seven-part format (subtype B) which contains four ritornellos and three solos. This concerto movement includes a R1 that serves expositional-rhetoric and referential-layout functions, and a lavish Solo 1 (S1), which is followed by the orchestra-led recapitulation.

30 Kathleen Dale, Nineteenth Century Piano Music: A Handbook for Pianists (London: Da Capo Press, 1972), 45-6. 111

The slow movements of Weber’s concertos exhibit a variety of design and texture as well and they further demonstrate the characteristics of Weber as an opera composer. In the First

Clarinet Concerto, the second movement features the solo clarinet with a French horn trio, and this texture is later used again at the end of the movement. Additionally, the clarinet plays a recitative passage in the second movement of Clarinet Concerto No. 2 that further dramatizes the already cantabile melody. Finally, Weber seems to prefer to conclude the concerto with a rondo movement; most of his concertos and sonatas finish with a rondo finale.

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Chapter V Conclusion

Hepokoski and Darcy’s Type 5 sonata is a result of studying the concertos by Haydn,

Mozart, Beethoven, several treatises of the theorists from the past, and current studies on sonata form. It provides a general view on the structure of a concerto’s first movement, and offers ways to understand how a composer constructs a concerto. Furthermore, the ample Sonata Theory vocabularies and options enable a musician to describe the design of a concerto movement in great detail.

After applying the Sonata Theory to the clarinet concertos by Spohr and Weber, the analyses reveal the special features and distinguishing characteristics of each movement.

Moreover, they also demonstrate the composers’ preferences when writing a concerto and their compositional styles. I hope this document brings additional insight to these concerto movements, and the analyses are useful for other musicians.

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Appendix A. Terms and Abbreviations31

C = closing zone CA = central action CF = caesura-fill DC = deceptive cadence DE = display episode EEC = essential expositional closure (within an exposition, usually the first satisfactory PAC that occurs within S and that proceeds onward to differing material.) ESC = essential structural closure (within a recapitulation, usually the first satisfactory PAC that occurs within S and that proceeds onward to differing material.) HC = half cadence IAC = imperfect authentic cadence MC = medial caesura P = primary-theme zone PAC = perfect authentic cadence R1 = the initial ritornello (Ritornello 1 or opening tutti) at the opening of a Type 5 sonata (concerto movement). Similarly, R2, R3, and R4 stand for the second, third, and forth ritornellos (or tuttis), each of which also has a specialized function and role to play within a Type 5 sonata. R1:\ = prefix indicating material within R1 of a Type 5 sonata (concerto movement). (Thus R1:\P, R1:\S, and R1:\EEC represent the modules functioning as the primary theme, the secondary theme, and the rhetorical EEC within the opening tutti of a Type 5 sonata.) RT = retransition S = secondary-theme zone S1 = the first solo section, Solo 1, of a Type 5 sonata (concerto movement), typically marked by the first entrance of the soloist following the orchestral R1 and ending with a trill cadence precipitating the onset of the second ritornello or tutti, R2. S1:\ = prefix indicating material within the S1 zone of a Type 5 sonata. (Thus S1:\P, S1:\S, and S1:\EEC represent the modules functioning as the primary theme, the secondary theme, and the EEC within the Solo 1 space of a Type 5 sonata.) TI = tutti interjection (in a Type 5 sonata, any brief, interrupting tutti impulse within what is otherwise a solo section, such as S1, S2, or S3.) TMB = trimodular block. Individual modules may be designated as TM1, TM2, and TM3. TR = transition = “becomes” or “merges into”

31 Hepokoski and Darcy, xxv-xxviii. 114

Appendix B. The Type 5 Sonata Default and Options

Diagram B.1 The Opening Ritornello

R1:\P or; “Motto” R1:\P as Idée Fixe or later “Wild Card”

R1:\TR R1:\TR R1:\TR The independent transition, The reinforced, varied, and The developmental transition which sets forth a new quickly dissolving or transition that arrives as thematic module restatement the motivically related culmination of R1:\P

R1:\MC with or without caesura-fill

no R1:\S R1:\S Produce the continuous R1 It is frequently a with no MC effect multimodular, therefore one need to define which PAC is the EEC

Potential R1:\EEC R1:\S as implication for later deferrals – a nonelided piano rotations “afterthought” at or toward the very end of R1

R1:\EEC

R1:\C R1:\C R1:\C When the cadential material for R1:\S is Nonelided piano response Forte fortified rhetorical delivered in a piano dynamic and elided with punctuation R1:\C, the latter zone often begins with an abrupt and vigorous forte. R1:\C is a new theme usually

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Diagram B.2 Solo and Larger Expositions: Solo 1 + Ritornello 2

R1:\C

S1:\P S1:\Ppref (“rotation 2” anbiguities) S1:\P Solo enters with R1:\P Solo enters with new material preceding the Solo substitutes a new theme materials (onset of solo onset of R1:\P, such as brief links or expanded for R1:\P exposition and rotation 2) anacrises; ‘nonthematic’ solo-fill or ‘warmup’; (onset of rotation 2 with an thematic fill; closed entry theme S1 “replacement theme”)

Post-P theme option: S1:\TI (orchestral flourish as affirmational tutti interjection) No S1:\TI Nonmodulatory Pcoda or; either rotationally insert or entirely new that serves as a link to a sujet-libre transition

S1:\TR Sujet-libre transition type and other types

Sujet-libre TR- Sujet-libre TR- S1:\TI1 as mediator The modally shifting or variation 1 variation 2 between the P- and modulatory S1:\TI1 and “linkage technique” S1:\TI1 omitted TR-zones Sujet-libre transitions that begin off-tonic

Other S1 transition type Other S1 transition type Alternative 1: S1:\TR as dissolving Alternative 2: S1:\TR as dissolving R1:\TR1.1, usually with subsequent P═>TR merger expansions

w/o S1:\MC

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Diagram B.3 Development and Recapitulation: From Solo 2 through Ritornello 4

Developmental Space: S2 or S2 + “R3”

Episodic development Rotational Episodic, new material, often declarative, lyrical, or development otherwise melodically memorable, although it may include passages of virtuosic figuration as well

Return to Half-rotational Multiple variants of S2; those subrotations R1:\P at or near references to R1 within a the opening of or S1 are portion of the S2 restricted only developmental to P and/or TR space, usually P-based

Overall shape Event zones

Link Entry/preparation zone S2 beings with the soloist seizes upon Initial tutti-solo interplay the final figure of R2

Mitte zone Central action An interior point where the initial activity A modestly sized contral block of stabilizes, however briefly, usually into an sequences with a display of rapid HC or a PAC, often in vi or iii, that passagework from the soloist prepares the onset of the next section

Tutti interjections Retransition As many as 4 orchestral TI or no TI when the A structural dominant lock soloist spins out an uninterrupted course throughout the development

RT in S2 Retransitional R3 option proceeding to a solo-lead recapitulation

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Solo recapitulation: S3, R3+S3, or R3═>S3

S3 R3+S3 R3═>S3 Recapitulation as rotation Double-start opening Merger opening 1-rotation 2 synthesis

Varying Solo-led (S3) It features a The R1 The solo recap. Several ways relationships of opening decisive tutti “group”- begins with a of merger the solo beginning that persona takes decisive tutti recapitulation serves to mark an initially pillar to S1 the structural charge then replicating the moment of yields to the beginning of recap. but then soloist for an R1:\P, but gives way to a S1-based within a few second, solo- rebeginning bars the soloist led beginning with conditions re-enters to that replicates assist with or to the opening of take over its S1 continuation

Based on Shortened S3:\TR Based on S1:\TR S1:\TR R1:\TR materials without any “new” infiltration from R1:\TR No restoration of R1:\Post-MC S3:\S Restoration of R1:\Post-MC material suppressed in the larger material suppressed in the larger exposition exposition

May be articulated only with the final S3:\ESC May occur earlier, in which case trill-cadence, in which case there will the DE will have been played in C- be no S3:\C-space; the DE will be space, perhaps even after the part of S-space reappearance of a separate C-theme

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R41 & R42 R2 material within Cadenza Straddle cadenza parts of R4

Outfit R41 with Split the R2 music Begin with the The potential differing material for R41 & R42 linkage-technique of rotational and bring back the taking up material implications of the R2-referential music, that had just been modular content nearly always fully stated in the within those intact, after the orchestra cadenzas that cadenza, in R42 reconfigure previously heard material

Include R2 material only in R41, leaving R42 free to restore previously “lost” material from R1

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