Born in the same fairy country as famous author Hans Christian Andersen, Carl Nielsen was a Danish composer and conductor around 19th and 20th centuries. His works include variety of genres of the time, "from Brahmsian Romanticism at the outset to a high-principled, personal brand of neo-classicism." His concerto for clarinet is such an unconventional and attractive work to audience.
Carl Nielsen wrote this piece for Danish clarinetist Aage Oxenvad, who was a member of Copenhagen Wind Quintet. Nielsen was touched by the extraordinary musical interpretation of this group after he heard their rehearsal, and then He decided to compose music for each person. Unfortunately, Nielsen only accomplished the flute concerto in 1926 and clarinet concerto in 1928 before his death in 1931.
No matter is instrumentation or structure, it is written without regard to tradition. Distinct from standard concerto form, fast-slow-fast, Nielsen's clarinet concerto is written in a long movement with several subdivided sections. Music opens with a perfect fifth played by cello and bassoon in an Allegro un poco tempo. The perfect fifth gives audience strong sense of rhythm, even though the instruments are playing in low register so that sounds a bit peasant. The two eighth notes slurs, rests, staccatos, and sustained notes obviously are elements of Danish folk dance music. The soloist comes in after sixteen measures with this folk-like theme, which has been alternating in whole work. This joyous and cheerful melody seems presents the innocent and lighthearted children. When the snare drum appears later, it interplays with clarinet leading music to become aggressive and gloomy, and it plays a significant role in this work, which is uncommon in the 20th century music. The second theme comes with a melancholy melody. However, it doesn't last long before the cadenza. The folk-like theme not only can be heard in the middle section of the cadenza, but also plays an accompaniment ostinato in the recapitulation till the next section.
The tempo is changed to Adagio in the second section. Horns and bassoons begins in a calm atmosphere, and repeated a major sixth higher by the clarinet and the strings. The drums break the peace of the music, but it does not continue to get climax as I expected. I was not satisfied with this feeling that it is fading away and becoming quite again so quickly. Even though I was not very impressed by its not tuneful melodies and irregular rhythm, I do like the snare drum accompaniment which has been performed in many measures with a repetitious three sixteenth notes. This march-like presentation makes music more energetic and excited regardless of the corny clarinet melody.
The first three notes of main theme suggesting Nielsen's folk music heritage also can be heard in the third movement even though it develops new material. The intensive emotion dominates entire movement till the finale. The clarinet brings out the theme first, and then taken by the basses and violins. All strings playing at the extremely high pitches lead to the coda. Finally, the music ends with gradually dying sound.
Undoubtedly, this is a unique work according to its engaging compositional technique. The significant role of snare drum makes this piece sound like a double concerto, and the limited instruments in orchestra part, the two bassoons, two horns, snare drum and strings shows a hint of chamber music writing. In addition, the unusually musical language is also the one of the reasons to keep this work outside of the canon.
David Fanning. "Nielsen, Carl." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/19930 (accessed March 20, 2010).
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