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Vorwort Den Französischen Solokonzerten Des Inzwischen Verstorben) Die Zusendung Frühen 19

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Vorwort Den Französischen Solokonzerten Des Inzwischen Verstorben) Die Zusendung Frühen 19 Vorwort den französischen Solokonzerten des inzwischen verstorben) die Zusendung frühen 19. Jahrhunderts kann aber ver­ der nun bald abgeschlossenen Rein­ mutet werden, dass das Werk (zumin­ schrift des B­dur­Konzerts an. Erneut dest in Teilen) wesentlich früher ent­ war Crusell „in Verlegenheit, weil ich stand, jedoch bis zu seiner Veröffentli­ mein Versprechen, Ihnen die Manu­ Bernhard Henrik Crusell (1775 – 1838) chung einige Umarbeitungen und Än­ scripte bis Weihnachten zuzusenden, zählt zu den herausragenden Klarinet­ derungen erfuhr. mit bestem Willen nicht erfüllen kan[n]. tenvirtuosen seiner Zeit. Bereits 1793 Die erste nachweisbare Nennung des […] Ich arbeite aber alle tage, wen[n] wurde er zum ersten Klarinettisten der Konzerts in B­dur findet sich in Cru­ auch wenig, nur daran. Das Concert königlich schwedischen Hofkapelle in sells Tagebüchern. Wie seinen Eintra­ ist bald ins reine [geschrieben], und Stockholm berufen, wo er mit Unter­ gungen zu entnehmen ist, vereinbarte das Air Varié wird es wohl auch“ (Brief brechungen bis 1833 wirkte. Viele zen­ Crusell während eines Besuchs bei sei­ vom 12. Dezember 1828; Frankfurt, trale Werke des Repertoires wurden nem Verleger Carl Friedrich Peters in Universitätsbibliothek Johann Christi­ von Crusell in Schweden erstaufgeführt, Leipzig am 16. August 1822 die Veröf­ an Senckenberg, Signatur Mus. Autogr. darunter – neben zahlreichen Kammer­ fentlichung weiterer Kompositionen B. Crusell A 1 – 12). Offensichtlich er­ musikwerken – die Konzerte von Franz und Bearbeitungen – darunter auch die hielt der Verlag Anfang 1829 tatsäch­ Krommer, Wolfgang Amadeus Mozart, des B­dur­Konzerts op. 11 und seines lich die Stichvorlage, denn zeitgenössi­ Franz Tausch und Peter von Winter. Air varié op. 12 für Klarinette und Or­ sche bibliographische Anzeigen bele­ Crusell regte in Zusammenarbeit mit chester (vgl. Bernhard Crusell. Tonsät- gen, dass das gedruckte Aufführungs­ dem renommierten Dresdner Instru­ tare, Klarinettvirtuos, hrsg. von der material für Opus 11 (eine Partitur mentenbauer Heinrich Grenser Weiter­ Königlich Schwedischen Musikakade­ wurde nicht veröffentlicht) im Herbst entwicklungen im Klarinettenbau an mie, Stockholm 1977, S. 135). Crusell desselben Jahres vorlag (vgl. Intelli- (u. a. zum Klappenmechanismus) und versprach Peters, die durchgesehenen genz-Blatt zur allgemeinen musika- zählt wohl zu den ersten Spielern, die Manuskripte noch im gleichen Winter lischen Zeitung, Nr. XVI, November die moderne Mundstückposition – mit nach Leipzig zu schicken – aus dem 1829, Anzeige zur Michaelismesse im dem Blatt an der Unterlippe – zuguns­ Briefwechsel zwischen Komponist und September, sowie C. F. Whistling, Mu- ten einer wärmeren, kontrollierteren Verleger geht jedoch hervor, dass Cru­ sikalisch-literarischer Monatsbericht Klanggestaltung anwendeten. sell die Übersendung der Werke auf­ […] für das Jahr 1829, September/ Neben seiner solistischen Karriere grund einer Augenerkrankung sowie Oktober, S. 72). war Crusell auch ein produktiver Kom­ seiner umfangreichen Dienstverpflich­ Leider ist der genaue Zeitpunkt der ponist. Sein Schaffen umfasst neben tungen im Orchester mehrmals ver­ Uraufführung des Klarinettenkonzerts Kammermusik, Liedern und einer Oper schob und darum bei Peters um Ent­ op. 11 heute nicht mehr zweifelsfrei vor allem virtuose Werke für Blasins­ schuldigung bat. Eine tiefergehende zu ermitteln. Eine von Fabian Dahl­ trumente. Insbesondere seine Klarinet­ Umarbeitung des B­dur­Konzerts wird ström veröffentlichte chronologische tenkompositionen, darunter drei Solo­ schließlich durch einen Brief aus dem Auftrittsliste Crusells verzeichnet je­ konzerte, die er ursprünglich für den Herbst 1824 bestätigt: „Das Concert doch bereits seit 1807 mehrere Auffüh­ eigenen Gebrauch schrieb, erreichten und Air varié für Clarinette muss ich rungen eines von ihm komponierten eine weite Verbreitung und haben sich ganz umschreiben, den[n] ich bin doch „Adagios“ sowie ab 1810 mehrfach die bis heute im Repertoire gehalten. Die nicht ganz zufrieden mit diesen, und von „Adagio och Polonois“ (vgl. Fabi­ Entstehungsreihenfolge dieser drei Kon­ ich hoffe sie in mehrerer Hinsicht zu an Dahlström, Bernhard Henrik Cru- zerte ist nicht zweifelsfrei zu klären. Ei­ verbessern. Ich bin mit meinen zum sell, Helsinki 1976, S. 251 ff.). Ebenso ne gelegentlich anzutreffende moderne Druck bestimmten Arbeiten vielleicht nennt die Allgemeine musikalische Zei- Nummerierung bezieht sich lediglich zu gewissenhaft; aber die Kunst ist tung die Stockholmer Aufführung von auf die Opuszählung der Druckausga­ ja dem Künstler das Höchste, und da „Adag. u. Pollacca für die Klarinette – ben: Das Konzert op. 1 in Es­dur wur­ muß ja die qualität mehr wie die quan­ comp. und schön gesp. von Hrn. Cru­ de 1811 von Hoffmeisters und Kühnels tität gelten“ (Brief an C. F. Peters vom sell“ am 8. April 1815 (5. Juli 1815, Bureau de Musique in Leipzig publi­ 20. Oktober 1824; Frankfurt, Univer­ Sp. 451 f.). Da sich beide Einzelsätze ziert, unmittelbar bevor Carl Friedrich sitätsbibliothek Johann Christian nicht in Drucken oder Abschriften er­ Peters den Verlag übernahm. Das Grand Senckenberg, Signatur Mus. Autogr. halten haben, liegt der Schluss nahe, Concerto op. 5 in f­moll erschien 1817 B. Crusell A 1 – 12). dass es sich hierbei möglicherweise um bei C. F. Peters. Das hier vorgelegte Kla­ Die Überarbeitungsphase zog sich Frühfassungen des langsamen Satzes rinettenkonzert op. 11 in B­dur wurde über weitere vier Jahre hin; erst im De­ Andante moderato sowie des Finalsat­ zwar erst 1829 im selben Verlag veröf­ zember 1828 kündigte der Komponist zes Alla polacca des B­dur­Konzerts fentlicht, aufgrund der musikalischen in einem Brief an den Verlag Peters (der handelt. Verstärkt wird diese Vermu­ Konzeption und stilistischen Nähe zu Eigentümer Carl Friedrich Peters war tung durch den eher adagiohaften Cha­ HN_1210_Vorwort_SRZ.indd 2 24.09.2015 13:45:52 III rakter des langsamen Satzes (Doppel­ Preface was composed at a much earlier date, punktierungen, kurze Notenwerte und but that it underwent several revisions weite Sprünge in der Solostimme) so­ and changes prior to its publication. wie eine Werkbesprechung von 1830 The first verifiable mention of the (d. h. nach Erscheinen der Erstausga­ Bb major Concerto appears in Crusell’s be), in welcher der Rezensent ebenfalls Bernhard Henrik Crusell (1775 – 1838) diaries. As can be gathered from his den langsamen Satz als „Adagio“ und was one of the most outstanding clari­ entries there, he agreed to the publi­ den Finalsatz als „Polonoise“ bezeich­ net virtuosos of his time. Already in cation of further compositions and ar­ net. Die abweichenden Satzbezeich­ 1793 he was appointed principal clari­ rangements – including the Bb ma­ nungen sind möglicherweise darauf nettist at the Royal Swedish Court Or­ jor Concerto op. 11 and his Air varié zurückzuführen, dass sich Crusell erst chestra in Stockholm, where he played op. 12 for clarinet and orchestra – dur­ kurz vor Drucklegung der Stimmen für intermittently until 1833. Crusell gave ing a visit to his publisher Carl Friedrich die neuen Angaben entschied und diese the first Swedish performances of many Peters in Leipzig on 16 August 1822 Änderungen vom Verlag nicht mehr im key works in the repertoire, including (cf. Bernhard Crusell. Tonsättare, Kla- Partiturmanuskript nachgetragen wur­ concertos by Franz Krommer, Wolf­ rinettvirtuos, ed. by the Royal Swedish den. (Es liegt nahe, dass die Rezension gang Amadeus Mozart, Franz Tausch Academy of Music, Stockholm, 1977, dann auf Grundlage dieser Partitur and Peter von Winter and numerous p. 135). Crusell promised Peters that oder einer Verlagskopie und nicht an­ chamber music works. Together with he would send the revised manuscripts hand der schwer überblickbaren ge­ the renowned Dresden instrument to Leipzig that same winter; however, druckten Einzelstimmen verfasst wur­ maker Heinrich Grenser, Crusell initi­ it emerges from the correspondence de.) Das Urteil dieser Besprechung (ver­ ated further developments of the clari­ between composer and publisher that mutlich von Friedrich Rochlitz verfasst) net (including of the key mechanism) Crusell had to postpone the consign­ fiel im Übrigen sehr positiv aus: „Ref. and was probably one of the first clari­ ment several times because of an eye hatte öfters Gelegenheit, die Werke Cru­ nettists to play using the modern posi­ disorder and his extensive obligations sells […] anzuhören und dabey zu be­ tion of the mouthpiece – with the reed to the orchestra, and he consequently merken, dass des Componisten Bestre­ on the lower lip – which allows for a apologised to Peters. A more compre­ ben mehr dahin geht, durch anmuthi­ warmer, more controlled tone. hensive revision of the Bb major Con­ ge, seelenvolle und kräftige Melodieen Besides his career as a soloist, Cru­ certo is ultimately confirmed by a let­ [sic] das Gemüth des Zuhörers anzu­ sell was also a prolific composer. His ter from autumn 1824: “I am having sprechen, als durch schwieriges Pas­ works encompass songs, chamber mu­ to completely rewrite the Concerto and sagenwerk zur blossen Bewunderung sic, an opera, and above all virtuosic Air varié for clarinet, for I am not yet hinzureissen. Vorliegendes Concert in works for wind instruments. His works entirely happy with them and hope to B dur ist von derselben Beschaffenheit. for clarinet in particular reached a improve them in several respects. I am […] Die Wahl dieses Concerts zu einer wide public and are still part of the perhaps too conscientious
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