About Music – The Art of Listening with Brian Clarinet Concertos – Part Two.
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In our previous programme we explored Mozart and Weber, who established the clarinet as a solo instrument of both lyricism and drama. Today we continue with three more concertos that show its remarkable versatility.
Carl Stamitz – Clarinet Concerto No. 3 in B-flat major (c. 1770s)
Louis Spohr – Clarinet Concerto No. 1 in C minor, Op. 26 (1808)
Aaron Copland – Clarinet Concerto (1948) written for jazz legend Benny Goodman, and in our recording, played by Bennie Goodman.
Across these three concertos we hear the clarinet’s astonishing adaptability: elegant and poised in Stamitz, Romantic and dramatic in Spohr, and jazz-infused yet lyrical in Copland.
Together, they reveal the clarinet as an instrument capable of inhabiting many voices, from Classical grace to Romantic passion to modern freedom.
Carl Stamitz – Clarinet Concerto No. 3 in B-flat major (c. 1770s)
Louis Spohr – Clarinet Concerto No. 1 in C minor, Op. 26 (1808)
Aaron Copland – Clarinet Concerto (1948) written for jazz legend Benny Goodman, and in our recording, played by Bennie Goodman.
Across these three concertos we hear the clarinet’s astonishing adaptability: elegant and poised in Stamitz, Romantic and dramatic in Spohr, and jazz-infused yet lyrical in Copland.
Together, they reveal the clarinet as an instrument capable of inhabiting many voices, from Classical grace to Romantic passion to modern freedom.
