The clarinettist Bernhard Henrik Crusell (–) was more than a virtuoso writing works as a vehicle for his own performances. His compositions are today . Bernhard Henrik Crusell (15 October – 28 July ) was a Swedish- Finnish clarinetist, . Clarinet Concerto in E-flat major, Op. 1. Movements: Allegro . Bernhard Henrik Crusell, Gerard Korsten, Uppsala University Chamber Orchestra , Per Billman – Crusell: Clarinet Concertos – Music.
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Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. If a CD is scheduled for re-issue within the next months, the message ‘To conccerto reissued on …’ will replace the ‘Buy Archive CD’ button.
This service offers a production-quality CDR clarineg printed label, inlay tray card and, at the minimum, a 2pp booklet including cover artwork and complete track listingpackaged in a normal jewel case. In many instances we will provide complete printed booklets, but please note that this is not always the case. His compositions doncerto today recognized as among the best in the clarinet repertoire of the early nineteenth century.
The heyday of the wind virtuoso, during which he lived, came at a time when great changes were taking place in the style and taste of musical composition. The style comcerto by Mozart and Haydn was first transformed by Beethoven and then considerably released from its fetters by the early romantics. Crusell played an important part in adapting these transitions to compositions for the clarinet.
Then in the s Franz Tausch, the great teacher and performer, set unbelievably high standards in technical difficulty and range, especially as far as the altissimo register was concerned. After the turn of the crsell Crusell followed their leads but limited his upper range, as did Mozart, to G in alt.
Clarinet Concerto No.1, Op.1 (Crusell, Bernhard Henrik)
Crusell was born on the 15 Octoberat Nystad in Finland. The Crusell family had been in the bookbinding trade for several generations and none of them appears to have had any great foncerto for music. When the four-year-old Bernt started showing interest in the clarinet claarinet parents tried to beat it out of him; however, he somehow managed to get clarineg of a primitive two-keyed instrument on which he developed quite a respectable technique.
From to he was first clarinet in the Swedish court orchestra and earned a reputation as one of the finest soloists of his time. Still dissatisfied with his technique he left for Berlin to spend seven months in studying with Franz Tausch, who greatly improved his tone.
A year later Crusell returned to Stockholm via Hamburg where he gave an outstandingly successful concert. Crusell now began to compose in earnest.
Dlarinet the next ten years he produced a number of highly inventive works for the clarinet including concerfo three concertos recorded here, three quartets for clarinet and strings recorded on Helios CDHthree duets for two clarinets, and a set of variations on a Swedish drinking song for clarinet and orchestra Hyperion CDD All of these were published by Peters of Leipzig and Crusell thus became the first Finnish composer to see his work in print.
He made himself fluent in several languages and also, not surprisingly in view of his heritage, had a strong interest in literature. The dedications of his compositions are thus conferto always mere courtesies but often tokens of true friendship. This was indeed the case with the Opp 1 and 11 concertos. Op 1 is dedicated to Count Gustaf Trolle-Bonde dlarinet at whose mansion Crusell was a frequent guest.
The Count was an art connoisseur and patron. He studied painting in London during the s and returned to Sweden to inherit huge estates and to found an important art collection. In he was elected to the Swedish Musical Academy, an honour bestowed on Crusell in The exact composition date of Op 1 is not known. Prince Oscar took a lively interest in the music performed by the bands and himself dabbled in composition.
Clarinet Concerto No.3, Op.11 (Crusell, Bernhard Henrik)
All three concertos were definitely written for professional players the quartets are for amateurs. All became best-sellers on publication and programmes of the time abound with performances.
Unlike Spohr, and uninfluenced surprisingly by Tausch who had shocked the musical world by taking his concertos up to the fourth C, Crusell limits the upward range of his solo parts to G in alt. He is meticulous over phrasing and the variety he achieves within an extended semiquaver passage is most remarkable. His conservative key choice was typical of the age in which he wrote: Op 1 is in E flat major with the second movement in the subdominant; Op 11 is in B flat major with the second movement again in the subdominant.
Both first movements are in the usual sonata form, second movements in ternary, third movements in rondo. All are rounded off with a coda or codetta. The lively and beautiful first movement of Op 1 contains three themes of diverse character. This is followed by a very slow and comparatively uncomplex Adagio movement of only forty-eight bars including a codetta.
There follows a rondo containing three episodes. Although the rondo is in duple time it is characterized by a strong skipping rhythm generally associated with the triple-time polacca.
The first movement of Op 11 again has three themes. Crusell here uses the chalumeau register to particularly good effect. The slow movement is the longest of his three concertos and the most profound.
Crusell provides clarinst written-out cadenza for this movement, whereas in Op 1 he gives neither cadenza nor cadence point. The final movement is in sonata-rondo form and in true polacca style. The layout of the three movements is firmly classical although here and there one notices the influence of Beethoven.
This influence is most apparent in the opening ritornello which is concentrated and dramatic and contains a strikingly Beethovenian modulation to D flat major.
However, with the arrival of the clarinet the drama becomes predominantly lyrical, despite wide leaps and virtuoso passage-work. The conclusion of the first movement, in the tonic major, is closer to the spirit of Haydn; it certainly dispels any impression of personal-dramatic content. The slow movement Andante pastorale is in D flat major and has much of the romantic warmth traditionally associated with that key.
Scored for clarinet and strings alone, it opens with a long melody for the clarinet accompanied by held chords and gentle pizzicato triplets on the cellos. The middle section explores darker minor-key regions before returning to a simple condensed repeat of the opening material. On this recording the cadenza just before the reprise, and the subsequent ornamentations, are by Alun Francis.
Despite the return to F minor, the final Rondo: Allegretto is high-spirited and gives ample opportunity for technical display, though Crusell wisely reserves his most brilliant writing for the coda. Le mouvement lent est le mouvement le plus long et le plus profond de ses trois concertos.
Le dernier mouvement est une forme rondo-sonate, cette fois dans le plus pur style de la polacca. Crusell war am Oktober in Nystad in Finnland geboren. Jedoch gelang es ihm irgendwie, sich ein primitives Zweiklappeninstrument zu beschaffen, mit dem er eine recht ansehnliche Spieltechnik entwickelte. Crusell willigte ein und schon bald wurde er zum Dirigent der Regimentskapelle ernannt, die ihren Standort jetzt in Stockholm hatte und wo der Komponist bis zu seinem Lebensende wohnte.
Von bis war er der erste Klarinettist im schwedischen Hoforchester und machte sich einen Namen als einer der besten Solisten seiner Zeit.
Sein Ruhm verbreitete sich rasch concertk wurde er nach St. Jetzt begann Crusell ernsthaft mit dem Komponieren. All diese Werke wurden von Peters von Leipzig herausgegeben und Crusell wurde somit der erste finnische Komponist, der sein Werk gedruckt erleben konnte. Er trat der schwedischen Gotischen Gesellschaft bei und vertonte die Gedichte vieler eminenter Literaten, die er dort kennenlernte.
Dies war auch der Fall bei den Konzerten Opp. Das genau Kompositionsdatum von Op.
Bernhard Crusell – Wikipedia
Seine Phrasierung ist tadellos und die Vielfalt, die er in einer erweiterten Sechzehntelpassage erreicht, ist wirklich bewundernswert. Alle werden mit einer Koda oder Kodetta abgerundet. Der lebhafte, reizvolle erste Satz von Op. Der erste Satz von Op. Hier setzt Crusell das Chalumeauregister besonders wirkungsvoll ein. Crusell versieht diesen Satz mit einer ausgeschriebenen Kadenz, Op. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.
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