Untitled - Edizioni Musicali Eufonia

Carl Maria von Weber (1786-1826)
Konzert für Klarinette und Orchester Nr. 2
Concerto for Clarinet and Orchestra
Es-dur/in E flat Major, op.74
1 Allegro 8’55
2 Romanze 7’40
3 Polacca 6’37
Carl Maria von Weber
Concertino für Klarinette und Orchester 9’32
Concertino for Clarinet and Orchestra
Es-dur/in E flat Major, op.26
Ernesto Cavallini (1807-1874) Konzert für Klarinette und Orchester 14’10
Concerto for Clarinet and Orchestra
in Mi bemolle maggiore
Es-dur/in E flat Major
(First world recording)
published by Eufonia: www.edizionieufonia.it
Wenzel Fuchs, Klarinette/Clarinet
Orchestra da Camera
“A. Vivaldi” di Valle Camonica
Silvio Maggioni
P+C 2009 VMS/Zappel Music
Recorded: Aufnahme: VII. 2008
Producer: Mario Conti
Recording supervision, sound engineer
& digital editing: Pietro Tagliaferri
Cover Design: Dieter Heuler
Carl Maria von Weber (1786-1826) and Ernesto
Cavallini (1807-1874) spielten eine bedeutende
Rolle in der Geschichte der Klarinette, da ihre
Kompositionen wesentlich dazu beitrugen, das
technische und expressive Potential des Instruments weiter zu entwickeln. Während Weber
seine Werke für einen großen Virtuosen schrieb,
war Cavallini selbst ein Klarinettenvirtuose, der
seine eigenen Werke überall in Europa spielte.
Nach den technischen Verbesserungen im 18.
und 19. Jahrhundert waren die Komponisten nun
bereit, virtuose Stücke mit schwierigsten Passagen zu schreiben, und die Klarinette konnte
so ihren kompletten romantischen Klangreichtum entfalten.
Webers Concertino für Klarinette und Orchester op. 26 wie auch sein 2. Klarinettenkonzert
op. 74 sind dem überragenden Virtuosen Heinrich Baermann (1784-1847) gewidmet, der auch
zu Webers Freundeskreis zählte, wie man im
Tagebuch des Komponisten nachlesen kann.
Baerman unternahm in seinem Leben mindestens 13 große Konzerttourneen, mehr als jeder
andere Klarinettensolist seiner Zeit, wobei er
dank seiner überragenden Technik und seines
raffinierten „Sound“ überall in Europa große
Triumphe feierte.
Das erste Treffen mit Baermann fand 1811 in
München statt, wo auch das Concertino op. 26
uraufgeführt wurde - in Anwesenheit des bayerischen Königs, den Baermanns Spielkunst derart
begeisterte, dass er gleich zwei weitere Klarinettenkonzerte bei Weber bestellte. Nach den
vorhandenen Unterlagen schrieb Weber das Con-
certino innerhalb von 3 Tagen, Baermann probte es 3 weitere Tage und führte es bei der Premiere am 5. April 1811 mit einem 87 Musiker
umfassenden Orchester auf.
Am 12. Juli 1811 vollendete Weber sein zweites Klarinettenkonzert op. 74, das dank Baermann zu einem überwältigenden Erfolg wurde,
wie damalige Kritiken bezeugen. Dieses 2. Konzert ist technisch wesentlich anspruchsvoller
als das 1. Konzert op.73; sein zweiter Satz,
Romanza, ist von jenem typischen lyrischen
und dramatischen Stil geprägt, der für Webers
spätere Opern wie „Der Freischütz“ oder
„Oberon“ so charakteristisch ist. Beide hier
aufgenommenen Werke Webers zählen neben
Klarinettenkompositonen von Brahms und
Mozart zu den absoluten Highlights des Klarinettenrepertoirs.
Ernesto Cavallini (1807-1874) war einer der
gefeiertsten Klarinettenvirtuose seiner Zeit. Er
führte seine eigenen Werke auf und wirkte auch
als Lehrer. Er stammte aus einer Musikerfamilie
(sein Bruder war Konzertmeister an der Scala di
Milano und Widmungsträger des Violinsolos in
Verdis Oper „I Lombardi“) und studierte an
Benedetto Carullis berühmter Klarinettenschule
in Mailand; später wurde er Mitglied des Orchesters der Scala. Von 1852-1867 war er Soloklarinettist und Solist im kaiserlichen Orchester in
St. Petersburg, wo er auch am damals neu gegründeten Konservatorium unterrichtete (Er
gab sogar Gesangsunterricht!). Rossini wie Verdi bewunderten Cavallinis Virtuosität, und viele
der hinreißenden Klarinettenpassagen in Verdis
Opern waren von Cavallinis Spiel inspiriert
worden. Typisches Beispiel dafür ist das Klarinettensolo im Vorspiel zum dritten Akt von „Die
Macht des Schicksals“. Cavallini konzertierte in
allen europäischen Metropolen und sogar in
Südamerika. Der bekannte englische Klarinettist Lazarus nannte in den „Paganini der Klarinette“. Nach seiner Rückkehr aus Russland
unterrichtete er bis zu seinem Tod am Mailänder Konservatorium.
Cavallini komponierte sein Concerto für Klarinette und Orchester Nr.1 Es-dur 1845 in
Mailand, wo es an der Scala uraufgeführt wurde.
Das Konzert atmet den Stil seiner Zeit mit typisch opernhaften Einschüben und vertrackten
technischen Schwierigkeiten, die Cavallinis virtuose Spielkunst demonstrieren sollten. Das Konzert, das im Musikverlag Eufonia erstmals seit
1845 wieder veröffentlicht wurde, ist zweifellos
eine Bereicherung des italienischen Klarinettenrepertoirs des 19. Jahrhunderts.
Wenzel Fuchs (Klarinette)
Der gebürtige Innsbrucker *1963) ging nach
den ersten Studien in Kitzbühel und Innsbruck
an die Universität für Musik und darstellende
Kunst Wien. Dort bekam er die Gelegenheit, als
Substitut bei den Wiener Philharmonikern mitzuwirken. Seine berufliche Laufbahn begann er
als Soloklarinettist an der Wiener Volksoper,
wechselte dann zum ORF-Sinfonieorchester
und 1993 zu den Berliner Philharmonikern.
Neben seiner Arbeit im Orchester ist Wenzel
Fuchs solistisch und kammermusikalisch tätig,
u. a. beim Philharmonischen Bläserensemble,
bei den Philharmonischen Bläsersolisten, beim
Philharmonischen Oktett und bei den Philharmonischen Freunden Wien-Berlin. Darüber
hinaus lehrt er an der Orchester-Akademie der
Berliner Philharmoniker, ist seit Oktober 2008
Professor an der Hochschule für Musik „Hanns
Eisler“ Berlin und hat eine Gastprofessur an der
Sakuyou-Universität für Musik im japanischen
Okayama sowie eine Ehrenprofessur am Konservatorium in Shanghai und gibt weltweit
Meisterkurse.
Silvio Maggioni (Dirigent)
machte sich einen Namen als Klarinettensolist.
Von 1979-1983 war er Mitglied der berühmten I
Solisti Veneti unter Claudio Scimone. Er ist
künstlerischer Leiter des Concorso Internazionale di clarinetto “G. Mensi”, des Corsi Internazionali di Perfezionamento Musicale und des
Kammerorchesters “A. Vivaldi” di Valle Camonica, mit dem er weit über 150 Konzerte gegeben hat, u. a. mit Solisten wie Hans Rudolf
Stalder, Michel Becquet, John Mc Caw, Thierry
Caens e Gervase De Peyer, Andreas Blau usw.
Seine Discografie als Klarinettist weist mehrere
CDs auf. Als Dirigent wirkt er seit 1974; so gründete er 1976 die Complesso Filarmonico
Lombardo,ein Blasorchester mit Chor, mit dem
er in Italien über 350 Konzerte bestritt und
mehrere CDs aufnahm. Er ist zudem Autor vieler Transkriptionen für Blasorchester und
künstlerischer Leiter der Edizioni Musicali
Eufonia. Seit 1980 ist er Professor für Klarinette
am Konservatorium von Brescia.
Carl Maria von Weber (1786-1826) and Ernesto
Cavallini (1807-1874) played an important part
in the history of the clarinet, because their
compositions helped to develop the technical
and expressive potential of the instrument.
Weber dedicated his compositions to a great
soloist, while Cavallini was both a superb player
and a good composer, who performed his own
works in most of his concerts all over Europe.
After the classical clarinet had been improved
technically during the 18th and 19th century,
the composers were more interested to write
brilliant pieces with difficult passages, and the
clarinet was now able to unfold its complete
Romantic richness of tone.
Weber’s Concertino for Clarinet and Orchestra op. 26 and the Clarinet Concerto op. 74
were written for the outstanding virtuoso, Heinrich Baermann (1784-1847), who was one of
Weber’s friends, as one can read in the composer’s diary. Baermann made at least 13 concert
tours in his life, more than any other solo clarinettist of his time, having an incredible success
all over Europe due to his amazing technique,
refined sound and expressive skills.
The first meeting between Baermann and
Weber occurred in Munich in 1811, and the
Concertino op 26 was premiered in that city - in
the presence of the Bavarian King, who was so
impressed by the quality of Baermann’s performance that he commissioned two additional
clarinet concertos from Weber. According to
some documents the Concertino was composed
by Weber in just three days, rehearsed by
Baermann in another three days, and performed
on April 5, 1811 with a huge orchestra of 87
musicians!
On July 12, 1811 Weber finished his second
Clarinet Concerto (op 74), and Baermann made
it an overwhelming success, according to some
reviews of that time. The second Concerto op 74
has more challenging technical parts than the
first Concerto op 73; its second movement,
Romanza, clearly reveals the typical Weberian
lyrical and dramatic style so characteristic for
his later operas such as Der Freischütz and
Oberon. Weber’s Concertino op 26 and the
Concerto op 74 represent, together with clarinet
compositions by Mozart and Brahms, the highlights of the clarinet repertoire.
Ernesto Cavallini (1807-1874) was one of the
most celebrated European clarinettists of his
time. He was an outstanding virtuoso performercomposer for his instrument, and he was a
respected teacher. Coming from a family of musicians (his brother was concertmaster at La
Scala and dedicatee of the violin solo part in
Verdi’s opera “I Lombardi “), he studied with
Benedetto Carulli, who represented the famous
Milanese clarinet school.; later he was member
of the La Scala orchestra. From 1852 to 1867, he
was solo clarinettist and soloist of the Imperial
Orchestra in St. Petersburg, Russia; he was also
worked as a teacher at the new conservatory (He
even taught singing!). Cavallini’s amazing virtuosity was admired by both Rossini and Verdi.
Many of the beautiful and idiomatically written
clarinet passages pervasive in Verdi’s operas
were inspired by Cavallini’s brilliant playing. A
typical example of this is the famous clarinet
solo in the prelude to the third act of La Forza
Del Destino. Cavallini gave concerts in most
European countries and even in South America.
The well known English clarinettist Lazarus
called him the “Paganini of the Clarinet”.
According to Fetis he used a six keyed boxwood
clarinet, but recent researches document that he
had also a clarinet with 12 keys made by the
Milanese instrument maker Piana. When he
returned from Russia he taught at the
Conservatory in Milan until his death.
Cavallini composed his Concerto no 1 in E
flat Major in Milan in 1845 and premiered it at
La Scala. The concerto is written in the style of
his time, with typical Italian bel canto lines and
tricky technical passages, composed to show his
own virtuoso qualities. The concerto, published
by the Italian music publisher Eufonia for the
first time since 1845, is an important addition to
the Italian clarinet repertoire of the 19th century.
Luigi Magistrelli
Wenzel Fuchs (Clarinet)
was born in Innsbruck in 1963. After first studies in Kitzbühel and Innsbruck, he went to the
Universität für Musik und darstellende Kunst in
Vienna, where he had the opportunity of playing
as a substitute with the Wiener Philharmoniker.
He began his professional career as principal
clarinettist of the Vienna Volksoper, then moving to the Austrian Radio (ORF) Symphony
Orchestra and in 1993 to the Berliner Philharmoniker. In addition to his work in the orchestra,
Fuchs is active as a soloist and chamber player
in, among other groups, the Philharmonic Wind
Ensemble, Philharmonic Wind Soloists, Philharmonic Octet and the Philharmonic Friends
of Vienna-Berlin. He teaches at the Berlin Philharmonic’s Orchestra Academy, holds a professorship at the Hochschule für Musik “Hanns
Eisler” Berlin (since October 2008), is visiting
professor at Sakuyou Music University in Okayama, Japan, and honorary professor at the Conservatory in Shanghai; he gives master classes
all over the world.
Silvio Maggioni (Conductor)
is a well known clarinettist. From 1979 to 1983
he was a member of the famous I Solisti Veneti
under Claudio Scimone. He is Artistic Director
of the Italian Music Publishing House, of Corsi
Internazionali di Perfezionamento Musicale
and of the chamber orchestra “A. Vivaldi” di Valle
Camonica. With this orchestra he gave more
than 150 concerts, inviting famous soloist like
Hans Rudolf Stalder, Michel Becquet, John Mc
Caw, Thierry Caens e Gervase De Peyer, Andreas
Blau etc. As a clarinettist he has recorded several CDs.
His career as a conductor started in 1974; in
1976 he founded the Complesso Filarmonico
Lombardo, a brass ensemble with a chorus, giving more than 350 concerts all over Italy and
recording some CDs. Additionally, he is author
of many transcriptions for brass ensemble, and
Artistic Director of the Italian music publisher
Eufonia. Since 1980 he is professor for clarinet
at the Conservatory of Brescia.
Carl Maria von Weber (1786-1826) ed Ernesto
Cavallini (1807-1874) ebbero entrambi il merito
di scrivere importanti composizioni clarinettistiche che aiutarono lo strumento a sviluppare le
sue potenzialità tecniche ed espressive. Weber
ebbe un dedicatario d’eccezione come Heinrich
Baermann (1784-1847). Cavallini fu invece sia
un sommo virtuoso che un abile compositore
per il proprio strumento. Dopo che il clarinetto
classico a cinque chiave si sviluppò dal punto di
vista organologico verso uno strumento che nel
primo ottocento ne acquisì almeno dieci o più, i
compositori scrissero parti solistiche sempre
più impegnative e brillanti e il clarinetto poté
mostrare le prime caratteristiche di essenza
romantica della sua natura.
Il Concertino op 26 e il Concerto op 74 furono
concepiti da Weber, come ormai tutti i clarinettisti sanno, per un gran virtuoso dell’epoca,
Heinrich Baermann che fu anche grande amico
di Weber, come si evince dal diario personale del
compositore. Baermann svolse nella sua attività
concertistica almeno 13 tournèe concertistiche,
più di ogni altro virtuoso di ogni epoca, mostrando le sue incredibili qualità tecniche, raffinatezza di suono e potenzialità espressive. Il fortunato incontro fra Weber e H. Baermann avvenne
nel 1811 a Monaco, dove venne eseguito il
Concertino op 16 al cospetto del Re di Bavaria,
che essendo letteralmente impressionato
dall’esecuzione di Baermann volle commissionare a Weber altri due concerti clarinettistichi.
Secondo alcune fonti attendibili il concertino fu
ultimato in tre giorni , studiato da Baermann in
altri tre giorni ed eseguito il 5 aprile del 1811,
con un orchestra di ben 87 elementi!
Il secondo concerto rispetto al primo ha parti
tecniche che richiedono un maggiore impegno
virtuosistico ma con il movimento centrale, la
Romanza, che racchiude in sé tutto il tipico
spirito weberiano intriso di liricità e drammaticità presente nelle sue successive opere come il
“Franco Cacciatore” e l’Oberon. Il Concertino
op 26 e il Concerto n 2 op 74 sono sicuramente
da annoverare, insieme alle composizioni di
Brahms e di Mozart, nel grande repertorio clarinettistico.
Le edizioni Eufonia hanno pubblicato per la
prima volta e prodotto il presente CD con
l’ausilio di un virtuoso dei nostri tempi, Wenzel
Fuchs, dopo la pubblicazione Bertuzzi del 1845,
uno dei due concerti per clarinetto di Ernesto
Cavallini (1807-1874). Cavallini è stato senza
dubbio uno dei più grandi clarinettisti,non solo
nell’ambito italiano, ma di ogni epoca. Figura
eclettica e versatile sotto ogni punto di vista,
seppe radunare tutte le doti di abilissimo esecutore, compositore per il suo strumento, e anche
di didatta. Proveniente da una famiglia di musicisti (il fratello era primo violino alla Scala e
Verdi gli dedicò il grande solo dei “Lombardi”) e
proveniente dalla prestigiosa scuola milanese di
Benedetto Carulli, sfoggiò in tenera età le sue
incredibili doti strumentali, fece parte prima
dell’orchestra della Scala, ed emigrò poi a S.
Pietroburgo dove svolse intensa attività concertistica, orchestrale e didattica (anche insegnando canto!) nel neonato Conservatorio locale. Si
esibì in grandi centri musicali europei e anche
in sud America, sempre riscontrando grandi
successi e diffondendo la sua fama ovunque. Il
famoso clarinettista inglese Lazarus lo definì il
“Paganini del clarinetto”. Secondo lo storico
Fetis si dice che si ostinasse a suonare sempre
con un clarinetto in bosso a sei chiavi, ma da
recenti ricerche sembra avesse anche un clarinetto della ditta milanese Piana a 12 chiavi.
Quando ritornò dalla Russia insegnò per breve
tempo al Conservatorio di Milano prima di
morire.
Il Concerto n 1 in Mi bemolle maggiore fu
composto a Milano nel 1845 ed eseguito alla
Scala dallo stesso Cavallini. A questo primo
concerto fece seguito un secondo, composto a S.
Pietroburgo nel 1852. Il Concerto n 1 pubblicato da Eufonia rispecchia parametri compostivi
presenti all’epoca riconducibili, ad esempio, a C.
M. von Weber. Il riferimento principale è comunque alle tematiche squisitamente operistiche dei temi cantabili e alle parti virtuosistiche,
che sono parte essenziale delle sue composizioni, confezionate su misura per le sue inusuali
doti tecniche. Si tratta di una chicca da riscoprire e valorizzare, nell’ambito del repertorio
clarinettistico italiano dell 1800.
Luigi Magistrelli
Weitere Bläserkonzerte/Further recordings of
works for wind instruments on VMS
Bach CPE (1714-1788)
Flötenkonzert/Flute Concerto
Hamburger Sinfonie
Reinhard Czasch, Flöte/Flute
Haydn Sinfonietta Wien, M. Huss
VMS 166
Reger (1873-1916)
Klarinettensonaten
Clarinet Sonatas
David Smeyers, Clarinet/
Klarinette
Bernhard Wambach, Piano/
Klavier
VMS 114
Reicha (1770-1835)
Flötenkonzert
Flute Concerto in B
Vanhal (1739-1813)
Flötenkonzerte
Flute Concertos Nr.1 & 2
Bruno Meier, Flöte/Flute
Prague Chamber Orchestra
VMS 603
Süss (*1961)
Concerto for Trombone and
Double Bass/Konzert für Posaune
und Kontrabass
Trio/Symphony No.1
Gaiswinkler/Weissensteiner/
Küblböck/ R. & T. Süss
Wiener Concert-Verein, Ulf Schirmer
VMS 173
Concertos for
Horn Quartet and Orchestra
Konzerte für Hornquartett und Orchester
Coenen: Variationen/Variations
Genzmer: Konzert/Concerto
Schumann: Konzertstück
Waldhornquartett der Berliner
Philharmoniker
Bamberger Symphoniker
Michael Boder
VMS 605
Posaunenkonzerte
Trombone Concertos
Albrechtsberger/Frisch
L. Mozart/Wagenseil
Marc Meyers, Trombone/Posaune
Latvian Philharmonic
Chamber Orchestra
Carlo Jans
VMS 108
Trompette de cour
Sperger/Haydn/Reutter/Telemann
Wolfgang Basch, trumpet
Bamberger Symphoniker, M.Andreae
Chamber Orchestra of the
St Petersburg Philharmonic, Leo Krämer
VMS 119
Trumpet Concertos
Trompetenkonzerte
Hertel, Gros, Hummel/L.Mozart
Wolfgang Basch, Trumpet
Orpheus Chamber Orchestra
VMS 602
Poèmes
für Saxophon, Violine und Klavier/
for saxophone, violin and piano
Eychenne/Busch/Fried/Bensmann
Detelf Bensmann, Saxophon
Waltraud Wächter, Violine
Dmitrij Befeler, Klavier/Piano
VMS 169
Jazz meets Weill & Gershwin
Weill:
Suite from the Threepenny Opera
Suite aus der Dreigroschenoper
Gershwin: Song Suite
Schnyder:
Sonata for Bass Trombone
Sonata for Saxophone
David Taylor, Bass Trombone
Kenny Drew jr., Piano
Daniel Schnyder, Saxophone
VMS 161