Subtitle: Für Klarinette und Orchester
Flute (one player)
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II (2 players)
Horn in F I-II (2 players)
None discovered thus far.
Concertino, Op. 26, by Weber is one of the great works of the clarinetists' repertoire. Its first performance as on April 5, 1811, and the concert was such a success that the composer was commissioned to write two more selections of the clarinet. These fine works brought even greater fame to Weber, already a highly respected composer, and established the clarinet as a leading instrument for the expression of Romantic music. This concertino to this day remains the most popular solo in the clarinetists' repertoire.
The work opens with a slow introduction and proceeds to a leisurely theme followed by several contrasting variations.
-Program Note from Program Notes for Band
Carl Maria von Weber (1786 - 1826) succeeded in establishing himself as a pioneer of German opera. With the first performance of his Freischütz in Berlin in 1821 Weber was finally given unprecedented acclaim as the founder of German Romantic popular opera.
It would, however, be wrong to limit Weber’s artistic importance to his operas. In the course of his short life he wrote some 300 compositions which comprise virtually all the musical genres of the early 19th century. Works for solo instruments and chamber music occupy a special position in his oeuvre.
These include two clarinet concertos, in F minor (op.73) and E flat major (op.74), and the concertino in E flat major, op.26, which Weber wrote in only six days. All three works were composed in 1811 and belong to a group of six compositions for clarinet which Weber wrote for the clarinetist Heinrich Joseph Baermann, one of the first great virtuosos on this instrument. It was his friendship with Baermann, but also the sound of the clarinet in particular, that inspired Weber to write his concerti. Baermann undoubtedly gave the composer professional advice during the process of writing and demonstrated to him the technical and tonal possibilities of the instrument. As a result, the clarinet became Weber’s favourite instrument and was put to greatest effect where the musical expression was intended to be as intensive and heartfelt as possible. The clarinet solo in the overture to the Freischütz”is moving evidence of this.
In the one-movement Concertino, Weber proves his playful assuredness in handling the classical forms of the sonata, the concerto and the variation. Here he can demonstrate the sound training which he enjoyed under Abbé Vogler. However, he merely uses these forms as a framework in order to indulge his urge towards a free, rhapsodic, almost improvised, romantic flow of music even more effectively. At the same time, his wealth of sound and his penchant for interesting harmonic turns and unusual instrumental colouring find expression in a convincing manner.
- Program Note by Jacco Nefs
- Audio: Reference recording. University of Florida (Gainesville) Wind Symphony (David Waybright, conductor)
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- University of Florida (Gainesville) Wind Symphony (David Waybright, conductor) – 7 February 2012
Works for Winds by This Composer
- Abu Hassan Overture
- Andante and Hungarian Rondo (arr. Mitchell) (1809/c. 1990)
- Andante and Hungarian Rondo (arr. Rogers) (1809/2001)
- Andante and Hungarian Rondo (arr. Weait) (1809/1998)
- Bassoon Concerto (tr. Rogers) (1811/2021)
- Concertino (arr. Reed) (1811/1962)
- Concertino for Clarinet (arr. Lake) (1811/1924)
- Concertino for Oboe and Winds (ed. Klocker) (1809/1981)
- Concertino Op. 26 (tr. Nefs) (1811/2019)
- Concertino Op 26 for Clarinet and Band (arr. Smith) (1811/)
- Concerto for Bassoon (arr. Schmalz) (1811/1989)
- Concerto No. 1, Op. 73
- Der Freischütz Overture (arr. Moses-Tobani) (1821/1922)
- Der Freischütz Overture (arr. Sedlák) (1821/1989)
- Fantasia and Rondo (arr. Snavely) (1815/1968)
- Grand Duo Concertante (arr. Keith McDaniel)
- Hungarian Fantasy (ed. Rogers)
- Invitation to the Dance (arr. Meyrelles) (1816/1891)
- Jubel Overture (tr. Patterson) (1818)
- Marcia (arr. Wagner) (1802-03?/?)
- Oberon Overture (arr. Lake) (1826/1937)
- Oberon Overture (arr. Tobani) (1826/1898)
- Oberon Overture (tr. Hindsley) (1826/197-?)
- Overture to "Euryanthe" (arr. Weller) (1823/1888)
- Peter Schmoll (arr. Smith) (1802/1960)
- Second Concerto for Clarinet (arr. Brown) (1811/1949/1968)
- Second Concerto for Clarinet (arr. Kopetz) (1811)