Carl Nielsen's Concerto Op. 57

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Authors Graham, Linda Vickey

Publisher The University of Arizona.

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Download date 10/10/2021 10:46:42

Link to Item http://hdl.handle.net/10150/624879 CARL NIELSEN'S OP. 57

by

Linda Graham

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

1 9 8 1 THE UNIVERSITY OF ARIZONA

SCHOOL OF MUSIC

I hereby recommend that this document prepared under my direction by Linda V. Graham

entitled CARL NIELSEN'S CLARINET CONCERTO OP. 57

be accepted in partial fulfillment of the requirements for

the degree of Doctor of Musical Arts.

. /2 J27'. S'gnature of Major Professor D at

Acceptance for the School of Music:

7/7, 7/44.*cee- Director, Graduate Studies in Music

401414. /2,, if if/ Date TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS iv

CHAPTER

1. BIOGRAPHY OF CARL NIELSEN 1

2. BIOGRAPHY OF AAGE OXENVAD 5

3. THEORETICAL ASPECTS OF THE CONCERTO 8

4. THE NECESSITY OF USING FAKE AND RARE ALTERNATE FINGERINGS IN THE CONCERTO OP. 57 . 19

5. MUSICAL EXAMPLES OF AAGE OXENVAD'S PERSONALITY AS IT IS PORTRAYED IN THE CONCERTO OP. 57 24

6. DISCREPANCIES BETWEEN THE PART AND THE SCORE . 34

SELECTED BIBLIOGRAPHY 37

DISCOGRAPHY 39

iii i

LIST,OF ILLUSTRATIONS

Figures Page

1. Carl Nielsen at Age 14 Holding Signal Horn and Alto Trombone 2

2. Carl Nielsen as He Appeared Conducting the Copenhagen Conservatory Orchestra 4

3. The Main Theme of the Concerto, First Stated by the Cellos and Basses 8

4. Clarinet Solo Entrance, Nielsen Clarinet Concerto Op. 57 9

5. First Cadenza, Nielsen Clarinet Concerto Op. 57 10

6. The Slow Movement of the Carl Nielsen Clarinet Concerto Op. 57 11

7. "New Motive in the Strings" 12

8. Clarinet and Snare Drum Duet 13

9. Strings Playing the Waltz Theme 14

10. The Clarinet Playing the Waltz Theme in Another Key 14

11. The Second Cadenza 15

12. The Third Section Entitled the "Wild Dance" . 16

13. The Ending of the Carl Nielsen Clarinet Concerto Op. 57 17

14. Alternate Fingering for the Nielsen Clarinet Concerto 19

15. The Open Fingering Used in the Concerto . . 20

16. Fingerings for the Concerto Op. 57 20

17. The Open G Fingering Used During the Concerto 21

iv y

LIST OF ILLUSTRATIONS -- Continued Figures Page

18. The Open G and Open D Fingering 21

19. The One /Two B Flat Fingering Used in the Nielsen Concerto 22

20. The First Cadenza in the Nielsen Concerto . . . 22 21. Typical Passage Requiring Alternate Fingering 23

22. The B to D Open Trill in the Concerto 23

23. Typical Passage Containing Alternate Fingering . 23

24. "Oxenvad in a Happy.Mood" Motive 24

25. Oxenvad's Sudden Outburst of Anger 25

26. Oxenvad in a Meloncholy Mood 26

27. Oxenvad Falling Asleep 27 28. The First Cadenza in the Concerto Considered "Oxenvad's Nightmare" 28

29. "Oxenvad in a Happy Mood" Motif 29

30. "Oxenvad's Waltz" Motif 30

31. "Oxenvad's March" Motif 31

32. The Second Cadenza and Climax of the Concerto Op. 57 32

33. "Oxenvad's Dance" Motif 33

34. The Correct Version of the Clarinet Concerto Op. 57 34

35. Manuscript from "Det Kongelige Bibliotek" . 35

36. Today's Version of the Orchestral Score 35

37. This is an Editor's Misprint; a Leger Line Has Been Left Off in the Printed Clarinet Part 36

38. The Correct Version of the Clarinet Trill . . . 36 CHAPTER 1

BIOGRAPHY OF CARL NIELSEN

Carl August Nielsen was born June 9, 1865, and died in Copenhagen, October 3, 1931. He was considered the central composer in Danish music after the Romantic Era.

Through his music and his strong personality he exerted a decisive influence on twentieth century Danish music and musical aesthetics and was a source of inspiration for composers in other Scandinavian countries. He absorbed and reformulated the best features of his musical heritage, and composed in nearly all genres. His contributions as a composer of symphonies and of simple popular songs are important.

Nielsen was born into a poor family; he was the

seventh of twelve children. His father was a painter and village musician who played the violin and cornet. Nielsen

started playing the violin and cornet when he was six years old. He joined his father playing cornet for the villagers of his native island, Fyn (Funen). After winning a cornet competition when he was fourteen, Nielsen entered the music profession as a regimental bugler in Odense. His formal

studies were at the Copenhagen Conservatory. His earliest composition was a polka for violin, which his father

1 2 disliked because of its many syncopations. Nielsen also played signal horn and'alto trombone in a military orchestra

from 1879 -1883.

CARL NIELSEN 1879

Figure 1. Carl Nielsen at Age 14 Holding Signal Horn and - Alto Trombone

At the Copenhagen Conservatory Nielsen studied

composition but economic necessities compelled him to

continue as a performer. He became second violinist in the Danish Royal Opera Orchestra of which he later became the

conductor. During the turn of the century, Nielsen developed his personal style. His style of compositions

was different from other contemporary composers. His music 3

was founded on classicism with rhythm as the primary element.

In 1915 he became the vice president of the Copenhagen

Conservatory, and in 1931 he became the director. During

Nielsen's busy life, he composed only three works in

concerto form. These were written for the violin, flute, and clarinet.

Nielsen's concertos for the flute and clarinet

resulted from his friendship with the Copenhagen quintet.

The idea for writing for the woodwind quintet came when he

was listening to the group rehearsing Mozart. The members

of the Copenhagen quintet were: Paul Hagemann, flute; Svend

Chr. Felumb, oboe and English horn; Aage Oxenvad, clarinet;

Knud Lassen, bassoon; and Hans Sorensen, horn.

After the success of the quintet, Nielsen set out to

compose five separate concertos tailor made to each of his

friends' individual talent and temperament. The flute concerto was written in 1926, and the clarinet concerto in

1928. Nielsen did not live long enough to complete concertos

for the other members of the woodwind quintet.

The clarinet concerto was dedicated to Aage Oxenvad, a Danish clarinetist, who Nielsen considered to be a brilliant performer. Nielsen wanted to match the clarinetist's technical abilities with his artistic tempera- ment. A close personal friendship developed between the clarinetist and the composer. This relationship proved vital in the creation of the concerto. Nielsen had consulted Oxenvad on matters of expression, and technical 4 practicability. Nielsen's objective was to present the concerto as a reflection of Oxenvad the artist and Oxenvad the human personality. Nielsen believed that the enormous range and capabilities of the clarinet, were ideal for descriptive music. Nielsen wrote that the clarinet can be warm hearted or charged with extreme excitement, which can be mild, or squeal like a train on poorly greased rails.

Figure 2. Carl Nielsen as He Appeared Conducting the Copenhagen Conservatory Orchestra CHAPTER 2

BIOGRAPHY OF AAGE OXENVAD

Aage Oxenvad was born in 1884, and died in 1944.- He

studied clarinet with C. Skjerne at the Det Kongelige

Musikservatorium. He was a member of the Det Kongelige Kapel from 1909, becoming solo clarinet with that orchestra

in 1919. Oxenvad held the position as the teacher of

clarinet at the Royal Danish Conservatory beginning in 1927.

Oxenvad was in great demand as a clarinet soloist and as a chamber music specialist in both classical music, and contemporary music. Carl Nielsen dedicated his clarinet concerto Op. 57 to Oxenvad, who gave the first performance of the concerto with the Royal Danish Orchestra under the direction of Carl Nielsen's son -in -law, in the Autumn of

1928. In 1921 Carl Nielsen met Aage Oxenvad. In 1922,

Nielsen composed his quintet Op. 43 for the newly formed

Copenhagen quintet.uintet. After the success of the quintet,

Nielsen decided to compose a concerto for every member of the woodwind quintet. Oxenvad became a close personal friend of Nielsen, just as other clarinetist and composers had formed special friendships in the past. There was Beer and Stamitz, Tausch and Stamitz, Hermstedt and Weber, Heinrich Baermann and Weber, Stadler and Mozart, Muhlfeld

5 6 and Brahms, Carl Baermann and Mendelssohn, and finally

Oxenvad and Nielsen.

Aage Oxenvad was a very temperamental person and was considered to be a schizophrenic by some. He drank heavily, and was very irritable. Carl Nielsen decided to base the concerto on Oxenvad's personality. There has been some speculation that Oxenvad made up the two cadenzas in the concerto, but this information has not been proven. After seeing the concerto for the first time, Oxenvad was said to have complained about the difficulty of the composition.

Aage Oxenvad was a fine clarinet instructor at the

Royal Danish Conservatory. He taught many students during the period 1920 -1930. He never had the opportunity to record the concerto Op. 57, but he did record two other compositions of Carl Nielsen's, namely, "Serenata in Vana" and the Nielsen quintet Op. 43. Both were recorded on

78 r.p.m. discs.

The concerto Op. 57 is based on the personality of .

Aage Oxenvad so throughout each section of the concerto, each motif represents the different moods or feelings of the clarinetist. This piece is a psychological character painting portraying Oxenvad's attitudes into the music

itself. The keys of this composition continually4presumably representing Oxenvad's unstable personality.

This musical portrait has become a major work for the clarinet and is a tribute to a great clarinetist of the twentieth century. Oxenvad was a true clarinet 7 virtuoso, because this work is one of the most difficult

concertos in the entiré repertoire for the clarinet soloist. CHAPTER 3 THEORETICAL ASPECTS OF THE CONCERTO

The Clarinet Concerto Op. 57 was written in 1928. It consists of three major sections which are separated by two difficult cadenzas that are built on fragments of the main theme. The three major sections are designated: allegro un poco, adagio, and allegro vivace. They are played as one continuous movement. There is a constant fluctuation between the tonalities of F major and E major. The concerto starts and ends in the same key; this is important because

Carl Nielsen rarely started and ended his works in the same key. The concerto is scored for an accompaniment of: two horns, two bassoons, piccolo drum, and strings. While writing this concerto, Nielsen was haunted by a simple tune; he used this tune as the main theme. The theme is first stated by the cellos and basses (Figure 3).

- MINNI =IP =. _ íI+ I -- = --r- NewrOMMeC ! - GWMMM.w PMPIMIIIOMIZMMIEWPIIRW .. ..., _ . ".-07Ile.V.-etto UY? Pocow (J. It) °

Figure 3. The Main Theme of the Concerto, First Stated by the Cellos and Basses

8 9

The solo enters at rehearsal number 1, in the key of

F major. The solo clarinet part is written for the A clarinet (Figure 4).

Fag -I : =4--414 3-r: - - , ... . - ntf xt. > > s 3 . . s ° N Ale :i at w - N./. Y= _ J -... -f. I V _.! f -L w !.: _ .i>> r w4 Pa i fi'3

11' "1.." --1, r .rEIIIL .M111 . . I u

Figure 4. Clarinet Solo Entrance, Nielsen Clarinet Concerto Op. 57

The solo material continues with the first theme in

E major. This is soon followed by the first cadenza, which is made up of fragmented material of the first theme. The arpeggios are an extension of the first theme, which are all played over a pedal note (the first note in the arpeggio).

This cadenza was written in a violinistic way, probably because Nielsen himself was a violinist. The main theme occurs throughout the cadenza (see Figure 5). ti

ti ti 11

The cadenza is followed by the recapitulation of the

first subject in the key of F. The clarinet enters when the tonality changes to E major. At this point Nielsen begins to develop the thematic material in both keys, resulting in a very exciting climax to the first section, in the form of an extremely difficult passage on the clarinet, accompanied by the side drum. This gives way to the lovely horn solo which opens the slow movement. The tempo of this section is adagio, with a beautiful melody, beginning with a momentary touch of bitonality; c minor in the horns and

E major in the bassoons. Figure 6 shows the melody is in c minor and the accompaniment is in the key of E major.

Poco Ad,aqo

.5 / J

Co,'

Tam/

Figure 6. The Slow Movement of the Carl Nielsen Clarinet Concerto Op. 57 12

At rehearsal number 14, the strings start a new motive. After four bars, the clarinet enters with long extended high notes as if in an argument with the strings

(Figure 7).

- --nj

...Y l

Figure 7. "New Motive in the Strings" 13

Next the side drum enters with a forceful solo, as if to aggravate the already established dotted rhythms played by the clarinet. The rhythms now become diverse throughout the orchestra. Five measures after rehearsal number 16, the climax is reached by a clarinet and snare drum duet

(Figure 8). At? r/c. - :--

Co>7F t .- .f1S..11. a s s r . Tomi M ....:.= if ,'w -' - -- -- h: __.! _- . _ - t eofo r.=.: -_ . ___ ..r ._ _- --w_.st_ . _- ==- -- J »

;Fa. . ÓFSso t r

s . f. s. } T 7.b=-.12.15.11h .j'

;it lv`0'_--3 sri ,ï3Wf3

_ L - -,a_¢_ r -=s- ,_ I . - r ", h.; -_- - --_ _ __ -- .. L ...... I ---__._ --- - w tie-,# RR , t n.: - ~r =_--=s -. ALM 0':. f :l ii..w--iM.==-7.2"2.1Lit..w Z.:i.. mV ... l `` - -- _ .- senza 1,-.?.. N ! ---=- _ .L - _"--t-mt-o -. Y I.; ---; r+ n gi , __M ---,_- -- --_ _ - - - Figure 8. Clarinet and Snare Drum Duet 14

The clarinet plays a small cadenza which modulates through several different keys, and this leads to a waltz section in the key of E major, that is played in the

strings (Figures 9 and 10).

Figure 9. Strings Playing the Waltz Theme

Figure 10. The Clarinet Playing the Waltz Theme in Another - Key

As the waltz subsides, Nielsen prepares for the main

climax of the piece which occurs at rehearsal number 33;

this development is accomplished with a rubato, and then an accelerando, by using bitonalities and conflicting rhythms.

At rehearsal number 30, the clarinet plays a march theme.

After the march theme, the clarinet plays the second

cadenza (Figure 11). 15

ten 193 an poro

rr _ . .. -.... .r ...4 T A /r _

Mn ¡irsn.

. - 7 = T 7 _ . 11 2 _ a t

nu _

Figure 11. The Second Cadenza.

After the second cadenza, there is a third section entitled the "Wild Dance" (Figure 12).

At the end of the concerto, the clarinet seems to finish in the key of E, and the strings in the key of F.

In the last four bars the clarinet and orchestra both play in the key of F with a peaceful ending, perhaps something that Carl Nielsen would hoped would occur in Oxenvad's

character (Figure 13) . 16

IUlegr+D (i quart P) poco a, poco irt. Terrapo r (lltlegro vivace)

Fay 1

Cár r F

v 777:' flllegrO (iquart f) _poco a poco rn Tempo I (Allegro rira

f' J v P

vi

na

-15 ..r.o P Allegro (/ ya.ri f) poco a poco in Tempo 1 (Allegro rivace)

Figure 12. The Third Section Entitled the "Wild Dance" 17

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Q 11,OCO N MM. -.7s.--..1w T. -I=N.N=.=1,..= !a - -...__... pPr E. P =:-r.Jiw: - =N. i ` -t .. _ a o , --2 / = M.a . , ' .,..N- :---.s_ - N. .__ _ =... . - - . .-'N j==r___ _ ..W, ' HiïÏì..--..i:Nno -.

__ .- Ein. : s- .i .M- =.-...... -. i ------.--...... -. .-..-- --

Figure 13. The Ending of the Carl Nielsen Clarinet Concerto Op. 57 18

The Importance of the Piccolo Drum

The piccolo snare drum plays a very important role

in this clarinet concerto. The solo clarinet and the piccolo snare drum play duets throughout the concerto, while at other times they are at rivalry with each other. The piccolo snare part is very difficult because of the -

intricate rhythms and continual arguments between the two leading instruments.

Occasionally the snare drum enters to dramatize or nullify the changing keysi or to build up a climax to the clarinet and string parts. CHAPTER 4 THE NECESSITY OF USING FAKE AND RARE ALTERNATE FINGERINGS IN THE CONCERTO OP. 57

There are many difficult passages in the concerto

Op. 57. It would be virually impossible to play the follow- ing passages with the standard fingerings. A knowledge of alternate fingerings is a necessity rather than a choice for the Nielsen concerto, because the concerto cannot be played completely without these alternate fingerings. All of the following examples are designed for the Boehm clarinet.

Eight measures after rehearsal number 1, the B flat last note in the first measure to the E flat in the next measure can be played with the one /two fingering below.

This makes the passage smoother (see Figure 14).

Figure 14. Alternate Fingering for the Nielsen Clarinet Concerto

Fourteen measures before rehearsal number 3, there is a repeated B to D figure. This is played easily by trilling

19 20 the open fingering, removing the thumb and the first finger, overblowing the G produces the twelfth higher harmonic above the staff. This is virtually impossible to play; therefore the soloist has to resort to fingerings based on the harmonic range of the clarinet (Figure 15).

á~ts* 'a'a 3- 1:- /144 i J

Figure 15. The Open Fingering Used in the Concerto

If a clarinet player is left handed, it would be better to use the right hand in this excerpt. Be sure to use the chromatic trill key where indicated (Figure 16)..

Figure 16. Fingerings for the Concerto Op. 57

This excerpt occurs two measures after rehearsal number 3. The use of the first finger G, third harmonic, overblowing the sixth makes this passage practical to 21

perform. The harmonic can sometimes sound flat on various

brands of (Figure 17) .

. Q o

Figure 17. The Open G Fingering Used During the Concerto

Using the same G fingering is important in this excerpt. An open D occurs in the first measure, second line (Figure 18).

o

# s. tt , ._s y ------_ ------. - _ _------w=_=- -_ . =II_-- -

Figure 18. The Open G and Open D Fingering

The one /two B flat fingering occurs in the next to the last measure. It must be used in order for the F sharp to be played easily. The long B flat is basically an arpeggiated figuration of an augmented triad on D natural (Figure 19). 22

Figure 19. The One /Two B Flat Fingering Used in the Nielsen Concerto

This fingering is used during the cadenza, at the quasi rallentando. The D below, is played as a harmonic blown over open G. Four notes later the C sharp is produced by overblowing the F sharp, first finger harmonic

(Figure 20).

- ...w .... __ - ___ -? _ "_------_ _

Figure 20. The First Cadenza in the Nielsen Concerto

The first finger G is used in the next example.

Using the first finger G makes this passage smoother and more reliable to play. (Intonation varies from clarinet

to clarinet.) (Figure 21). 23

c

Figure 21. Typical Passage Requiring Alternate Fingering

One measure before rehearsal number 28, there is another open B to D rapid alternation. This is played as an open trill between the thumb and the first finger. G is overblown as a harmonic (Figure 22).

Figure 22. The B to D Open Trill in the Concerto

In the last example, the overblown F sharp harmonic makes the passage work easier. Using the right hand B in the last measure is very important because it is more logical (Figure 23).

® Tempo I

Figure 23. Typical Passage Containing Alternate Fingering CHAPTER 5

MUSICAL EXAMPLES OF ARGE OXENVAD'S PERSONALITY AS IT IS PORTRAYED IN THE CONCERTO OP. 57

This highly imaginative piece lends itself to a programmatic approach in each section and indeed in each episode contained in each major section. In order to teach this piece it is important to give the student an idea of what was in the composer's mind when he wrote it. As stated earlier, Nielsen based this concerto on Oxenvad's person- ality. The concerto is considered a psychological reflection of Oxenvad. In this chapter the musical motifs represent certain moods of Oxenvad, much like the story of Peter and the Wolf. It is similar to the leitmotifs of Wagner's musical dramas.

The Nielsen concerto opens in the beginning with

"Oxenvad in a Happy Mood" motive. With this simple tune, one can imagine Oxenvad walking along whistling this happy song (Figure 24).

:-ka r.-. n I // _%. -e M 1._MM. a 4=UMN...... + O MOMMNOMINN111r111111.M_M - IYasoma. v aAy wa a. m . . r IN ._ 1. .IM Y7 1MM NL. .'' .. .. asNiN 7W M. AM M.7 L7 - NI ...... p N.yatm,N. Maatil..... a (J Ii) .M .Wwriflleypeffo W? poco .

Figure 24. "Oxenvad in a Happy Mood" Motive

24 25

At this point in the music, we can imagine Oxenvad exploding in a sudden outburst of anger. If you look at the musical example, you will notice the fff dynamic, and the sudden loud thirty- second note outburst in the solo clarinet part (Figure 25).

Figure 25. Oxenvad's Sudden Outburst of Anger

After this section, there is a very soft and tranquil section. This section is labeled "Oxenvad in a meloncholy mood" motif. This motif takes on a very sad and peaceful appearance after the previous one (Figure 26).

The example in Figure 27 portrays Oxenvad falling asleep. The music is gradually decresending, and slowing down to a complete stop. This is the end of a long day and Oxenvad falls asleep. 26

poco pall. © a km =1ma .i ...... I ¡'! - =Ii'sILSSs r mmommassa sa_ ' . - M r1, 1 M- 1,Jmil.Ms Me AMIN= .a7 =1.J1NNJlI=IIIINIAMMMMIPaNya. ... IIIIIII . Ñ a .faa _.11 -s g"'.: N_l------aaa1 a IMMLAINIMMI Atal.aaaaaalaiaaM- -_ aar ar aaaaaaalaaa-Maaaaaaaal.1 al :aaa I aaaraaaar dcm Ç?1 rWM11IMPM.car aa .- - :..+ _ius. .r Lr raaa7NaMa'- mo//o J.,.. _.v s ' . a. --- =EiTMts aalaa.yMa.r Maai.i -' aai. + aaaa 7 . .no/io -r. TOCO i-all. -,.. aP.Pttmpo mt[ d;,n

Figure 26. Oxenvad in a Meloncholy Mood 27

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Figure 27. Oxenvad Falling Asleep 28

The example in Figure 28 is considered "Oxenvad's Nightmare." Carl Nielsen based this cadenza on the main

theme. The thirty- second and sixty- fourth notes seem to

represent a clutter of nightmarish thoughts. During his

nightmare, Oxenvad dreams of the events of the day by using

the main theme. This cadenza is difficult for any

clarinetist to perform because of the extreme virtuosity of

the passage which contains velocity plus staccato precision.

This cadenza is also a nightmare for the clarinet soloist to

perform as well as a nightmare for Oxenvad.

J MON - l1MJII.a-. ....- jrN.Mq -...... _. . .r +1 0 -.111.-IN.M. _ _ . .I _ _ . __ _ NOi.st. -_ , M1 r _r-MM r. u '. . .'

----- _- - = nsa TIC . w . . w.+ n.' . Q.s 1===7MM =++ .a. w. M-

Jo 10 ;1 4` poco.7.0Z ran. e dim..

Figure 28. The First Cadenza in the Concerto Considered " Oxenvad's Nightmare" 29

After the nightmare, Oxenvad wakes up in a happy mood. Nielsen purposefully changes the key to show how

confused Oxenvad was after his nightmare (Figure 29). M.

. =:W : t .ii 7 : r i fra PP

7.: 1M al,M. L..; S

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- . . . \f ; - .. mw. .... %r e' I # if - I > a > === *M >..._ CJ = e''.---01 i 7 i' : Cor I :t + F f f ff =OW ¡Mr sr . '.>! My 0,11..I INMI I .."11, IM AM >s I -W-71s -a - Ir ! s Tiran N. ..t.N...... /0=1,-1=..1.- - - - -

-. ftÑ ...,_ . , .,=> .e,y a. l .t7t7_rN w S- fS'olo -L as7 M .a Ñ-f `\ e. =

..,. tf s!=

.7A .e, . T Y/1 .. ..._ a_ - Ao A CA ,C0 I - > > ' . -___ __ 0/.2 .1 Vi . ii- M_ t ` Figure 29. "Oxenvad in a Happy Mood" Motif 30

The example in Figure 30 is "Oxenvad's Waltz" motif. As in most waltzes the music is in triple meter, and there is no true key center because the music keeps modulating.

low r

Co. I F

Soto

Figure 30. "Oxenvad's Waltz" Motif

This section represents "Oxenvad's March theme."

The music is now in duple meter, the melody is first stated by the second bassoon and at rehearsal number 30, the clarinet enters with the march theme. The march motif is thematically related to the waltz theme. This adds excitement and starts to build up the second cadenza

(Figure 31) .

At this point in the concerto, the climax is reached by an outburst from the clarinet. This motif is called the

" Oxenvad's Final Outburst of Anger." This cadenza leads to the entire climax of the entire concerto. In the climax, Nielsen very pointedly left out the clarinet part, and gave the melody in an inversion to the strings, adding more confusion to Oxenvad's character (Figure 32). 31

30

a ...... 1...iM . .!-...M-. .. . __-I. f ú 'w of P . imiN NN NE,. -NN .D MNEN - ., wr.7.swaf1 .fa. s7fr'i. . ' ..fl+ fraTly.! .lof r f -i = . iNali u-a. lrr .1 MOM-T í I ff :r ::.. Mll. IW.. Nr f .I'7Af.1!f.Z r! I !!. is .1.I P r P . ` . ._ ___ MID .. .i ! 11=6 J f N - ..W- p - PP -__ --- -\130)- g9 I

sfo

3 laMr.0.r . NM D . -- srrfv...+ N . Y' 1 M . -.r/w.-MAIER .w...f .lrlfy l.s! al-...:- .raNIf. rr ! ^1.w- a -.f-.-...- Mil a ILa 'MINN 10 ..- 17. D .. I..L 7--J1-. .I-M . t:: . N1 : 'Nl..Nrr.- .. ! 3. M i NMR. . .i_=._. f ti r_1. f. a

Figure 31. "Oxenvad's March" Motif 32

- ; á ; j 3. - CacalCri2a[ - - ° ._5` : SoJo _ - _ r ,.._-- . =-=-`-' ------= _--._ ....._ _ - 3 - .= `. \._ 4. _ g--it COIZ forsac. fr---;- -... 1 4 . 't:i 3A r_.

ti 3t ,"

So 10

Solo

So "o

Solo

Solo

i --..i.1 - - .4==r---"'"'"'" .t\- nolle .f..r.i ! - = J a w .. _

; . enoIto ...pp-041s T- ...... _ ' L ^.a f.d t.. _4....11 -11MISt--+r - .,

. /1 ,_ rS ,.i: itz 4 * a t L tt r--.--- r

Figure 32. The Second Cadenza and Climax of the Concerto Op. 57. 33

The final excerpt is called "Oxenvad's Dance Motif."

Nielsen wrote it in a minor key, but instead of being slow and sad, the music is jolly and fast. This example shows Oxenvad's continual confusion with reality (Figure 33).

Figure 33. "Oxenvad's Dance" Motif CHAPTER 6 DISCREPANCIES BETWEEN THE PART AND THE SCORE

The Nielsen Clarinet Concerto is very important - because it is one of the first clarinet concertos of the twentietin century to make use of contemporary ideas such as polytonality, polyrhythms, and a duel between the clarinet and snare drum, and finally the use of whole tone scales. The first discrepancy between the clarinet and the orchestral score takes place one beat before measure nineteen. The last note in the original clarinet part is a D flat, but in the score it is shown as a D natural. The correct version is shown in the orchestral score (Figure 34).

S rit

FigureJ 34. The Correct Version of the Clarinet Concerto Op. 57

34 35

The next discrepancy in the concerto is the differ- ence between the original manuscript and the printed edition. The original manuscript and the original published edition of the clarinet concerto are in Copenhagen. The passage below is reputed to have been altered by Oxenvad. The correct published edition contains the alleged corrections made by Oxenvad. However, it would be physically impossible

to play the phrase as written in the original manuscript

(Figure 35). Figure 36 is how the score is published today.

Figure 35. Manuscript from "Det Kongelige Bibliotek"

(ft.)) s2 gt-3 Ternpo r / J . it . J 1 . .. "n r .7 illW. MOM, ...... ===..' Tr? . 7_ - -

- . .- rr T I ^'- . _ e - Ql i. o i.' OWNEDw _ ..."...._ 1IMM/M1 -MM.. _ .w _ -.N. . . . - ..v r . . am= - - v Tr iror'Y -WsWtr «<.

T7 J . N

t1 i »: E. -_---=

Se10

ri

Figure 36. Today's Version of the Orchestral Score 36

The last discrepancy between the score and the

clarinet part takes place during the waltz. There is a

trill from high B, to a E sharp in the clarinet published edition. This is an editor's mistake because the orchestral score has the correct version which is a B to a G sharp

(Figures 37 and 38).

Incorrect:

Figure 37. This is an Editor's Misprint; a Leger Line Has Been Left Off in the Printed Clarinet Part

Correct:

A p i `^`'

Figure 38. The Correct Version of the Clarinet Trill SELECTED BIBLIOGRAPHY

Anderson, Marcia Hilden. A Survey of Twentieth Century Finnish Clarinet Music and an Analysis of Selected Works. Michigan State University, Ed.D. 235 pp.- Michigan State University Press, 1974.

Apel, Willi (Ed.). Harvard Dictionary of Music. Second edition. Cambridge, Mass.: The Belknap Press, 1969. Baines, Anthony. Woodwind Instruments and Their History. New York: W. W. Norton and Co., Inc., 1957. Blume, Friedrich (Ed.). Die Musik in Geschichte und Gegenwart. Im Barenreiter Verlag Kassel und Basel, 1949 -1951. Vol. 2.

Brymer, Jack. The Clarinet. London: Macdonald and Janes Pub. Co., 1976.

Bull, Storm. Index to Bibliographies of Contemporary Composers. Vol. 1. Metuchen, N.J. : The Scarecrow Press, Inc., 1971. Drushler, Paul. The Clarinet: Its Evolution, Literature, and Artists. Rochester, N.Y.: Shallumo Pub. Co., 1973.

Gevaert, F. A. Nouveau Traite D'instrumentation. Paris and Bruxelles: Lemoine and Fils, 1885.

Gilbert, Les. The Woodwind Book. Edited by Brian Manton - Myatt. London: Boosey and Hawkes, Inc., 1957.

Gold, C. V. Clarinet Performance Practices. Sec. Ed. Moscow, Idaho, 1973.

Gower, William. Woodwind Techniques and Materials. Greely: Colorado State College Press, 1957.

Kroll, O. Die Klarinette. Kassel, und Basel. Barenreiter, 1965.

Lewis, David. "Nielsen's Concerto for Clarinet: Discrepancies Between the Part and the Score." The Clarinet, 11/2 (December 1974), 9 -10. 37 38

Lobaugh, H. B. "The Clarinet and Its Music in Belgium Today." The Clarinet, 111/4 (August 1976), 8 -9. Magnusson, Daniel. "Contemporary Icelandic Music for the Clarinet." The Clarinet, 111/2 (February 1976). Monsen, Ronald. "Contemporary Swedish Music for the Clarinet." The Clarinet, 11/2 (December 1974), 22 -24. Nielsen, Carl. 1865 -1965. Centenary Essays. Ed. by Jurgen Balzer, Nyt Nordisk Forlag. Copenhagen: Arnold Busck, 1965.

Sadie, Stanley. The New Groves Dictionary of Music and Musicians. London: MacMillan Pub. Ltd.; Hong Kong: Peninsula Publishers, 1980. Simpson, Robert. Carl Nielsen Symphonist. London: J. M. Dent and Sons Ltd., 1952. Stevensen, Kjell -Inge. "Carl Nielsen's Clarinet Concerto Op. 57." The Clarinet, 111/4 (1977). Weston, Pamela. More Clarinet Virtuosi of the Past. Londao: Robert Hale Publishing Co., Inc., 1977.

Willaman, R. The Clarinet and Clarinet Playing. New York: Carl Fischer Pub. Co., Inc., 1954. DISCOGRAPHY

Nielsen Clarinet Concerto. Orchestra. Bernstein Conducts Nielsen, Stanley Drucker Soloist. Nielsen Clarinet Concerto. Chicago Symphony Orchestra. Benny Goodman Soloist. Nielsen Clarinet Concerto. Turnabout Records. Deak Soloist.

Nielsen Clarinet Concerto. I. B. Erikson Soloist. Nielsen Clarinet Concerto. New Philharmonia Orchestra. John McCaw Soloist.

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