Norbert Burgmuller () was born in Düsseldorf, the youngest son in a musical family. His father was the director of a theatre, and his mother, a singer. Sheet Music – £ – Clarinet, Piano. Burgmueller, N. Burgmuller Duo for clarinet and piano – Download as PDF File .pdf), Text File . txt) or read online. Burgmuller Duo for clarinet and piano.

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Skip to main content. Log In Sign Up. Performance Considerations for Burgmuller’s op.

They became engaged in The piece was originally composed for clarinet and military band 16 and was written for Carl Klotz, clarinettist and 7 Jenson Sphor and Hermsted and B. Kistner later published op. Wherever possible it is advisable to obtain a facsimile of the manuscript of a work as this usually provides a clear reference to what the composer burymuller in terms of articulation, phrasing and dynamics for example.

The first printed edition burgmyller op. Evidence suggests that the piano part of op. In Marcha notice appeared in the musical-literary monthly report of new music, musical writings and illustrations, Leipzig Marchp.

As Kistner was working from the manuscript of op. Without the manuscript, clarinettists would be advised to work from bkrgmuller at least check their version of op. For example, the Schott edition matches almost exactly with the Kistner edition.

Duo for Piano and Clarinet, Op.15 (Burgmüller, Norbert)

The only slight discrepancy in the clarinet part is in bar 13 and similar musical examples. The Kistner edition incorporates the grace note triplets at the beginning of the bar under the slur whereas the Schott edition does not.

This also occurs in similar musical examples throughout the piece see examples. However, this alteration changes whether or not the clarinettist tongues the downbeat F in bar 13 and other similar passages: Both the Kistner and Schott editions are very faithful to the kistner edition, with only this slight discrepancy in the clarinet part of the Schott edition.

In this case only the Kistner and Schott editions were analysed; an analysis of other editions that a clarinettist might work from would be equally beneficial, in order to see how faithful they were to the earliest printed edition the most reliable source in the absence of the manuscript.

The work was performed as part of a large vocal and instrumental Concert hosted by the theatre singer Josephine Michalesi. Carl Klotz was the soloist accompanied by the composer on the piano, suggesting that some version of a complete piano part for op. Another performance of op. The performance was part of an evening of musical entertainment at the Conservatorium of Music. The performers were the solo clarinettist of the Gewandhaus Orchestra, Johann Friedrich Landgraf, and the benefactor of the concert Heinrich Stiehl, a pianist and composer from St.

Contemporary treatises on playing the clarinet as well as treatises written for other musical instruments provide a wealth of technical information about clarinet playing in this period c. Outside of France, the English clarinettist Thomas L.

However, care must be taken when applying rules and advice from treatises. Particularly useful methods 28 Hoeprich, The Clarinet On the other hand examining treatises from several clarinet schools such as the English, French and German schools is ultimately useful in highlighting the different approaches of clarinettists in various different musical environments.


Austro-German Clarinets in this period xuo had from five to twelve keys. This invariably resulted in the addition of more keys and ever more complex mechanisms.

Burgmuller: Duo for Clarinet and Piano

However, there were many including Backofen in his revised method of who felt that these additional keys took away the greater variety in tone and timbre that simpler five-keyed clarinets had, due primarily to the necessity of cross-fingerings. For instance, ten, eleven and even twelve-keyed instruments would possibly still require the use of cross- fingerings. Grenser provide examples of op. For example the ability to produce a wide variety of dynamics was essential for Romantic repertoire.

Heinrich Baermann for instance was praised in the Journal de Paris for the distinct timbre and extreme softness of dynamic that he could produce on the clarinet which was seemingly new to Paris at this time.

Thirdly, the benefits of additional keys were that clarinettists could play in more remote keys and cope with a much greater amount of chromatic writing an increasing feature of music from this period ; the balance with maintaining the greater variety of timbre and tone colour present in simpler five-key clarinets has already been discussed. In terms of expression, Hoeprich notes what some of the leading clarinet treatises suggest.

Berr even suggests changing fingerings during a held note as an expressive device. Whereas burymuller might not be desirable or as easy to achieve on a modern Boehm or Oehler-system clarinet, clarinettists can for example enliven the sound by altering the amount and speed of the air flow and the grip of the embouchure to achieve a variety of tone-colours. This might be particularly relevant to op. Another expressive device that might be explored when playing op. Finally ornamentation particularly in slow movements was discussed in various treatises and methods of the period; burgmullfr example, Berr includes instructions for ornamenting a slow movement.

Although again, taste in ornamentation varied from player to player and region to region. Arguably there is little room or need for ornamentation, although both clarinet and piano may wish to embellish the tune slightly in bars for example when the opening theme returns or in bars or of the second Allegro where the opening Allegro theme returns.

A duo implies a partnership between both instruments, although at times one may be slightly more important. As the piano has various important soloistic moments throughout the piece, it is also important to know the piano part well as the clarinet occasionally interrupts the piano solo before it has fully finished.

This happens for example in bars 37 burbmuller 42 of the first Allegro and bar 53 bkrgmuller the second Allegro. Thirdly, a practical issue clarinettists face in bars of the first Allegro is where to breathe as the musical material allows little opportunity to take a breath.

One possible solution that works well is to take a breath on the bar-line between buggmuller 78 and 79, breaking the slur, and then to breathe again after the first quaver D in bar An alternative solution might be to take a quick breath after the first quaver G of bar 79 and a quick breath on the bar-line between bars 80 and 81 and again in bar 85 if needed.


Norbert Burgmüller – Wikipedia

A similar problem exists in bars of the second Allegro and as the musical material is extremely similar, breathing solutions adopted in the first Allegro may be easily applied to similar bars in the second Allegro. For instance the clarinet music of Brahms and Schumann often highlighted this tension by simultaneously putting groups of nurgmuller notes against groups of three; bars of the first movement of Brahms sonata op.

Kistner edition bars Kistner edition bars 21 The right hand of the piano remains in triplets throughout bars whereas the clarinet has both triplets and also dotted quavers e. It is therefore important in both parts to strictly observe the difference between dotted notes and triplets to emphasise the feeling of two against three. Fifthly, burgmulker may want to avoid playing the theme at the beginning of the Larghetto too soft as this theme returns in bar 44 marked pp and a potentially nice musical effect might be to play this softer the second time, as if remembering or echoing the original thought from bars On the other hand, it could also be a musical choice to play the return of the theme slightly louder the second time if the perfomers felt that the Larghetto was gaining momentum towards the return of the faster Allegro material from the beginning of the piece.

These instances require not only a slight change in tempo and dynamic but also a change in timbre and tone-colour from the clarinettist in-particular. Arguably a historical approach would be beneficial to any clarinettist performing op. A complete list budgmuller his works includes two symphonies No.

Scherzo completed by R. Schumannfour Entr’actes for Orchestra op. Clarinettists may also wish to explore other works for the clarinet written during this period.

For example Louis Sphor wrote four concertos for clarinet; No. A little later Brahms wrote two sonatas for clarinet du viola and piano op. Although it is not a solo work for clarinet and piano, 43 Hoeprich, The Clarinet Solisten waren Carl Klotz und der Komponist am Klavier. Rezension in NZfM, Bd. Siehe Quelle II Verleger: Duoo einem Brief vom Quellen I Autograph Verschollen — Provenienz: Verlag Friedrich Kistner, Leipzig. Dem Tonumfang des Instruments entsprechend teilweise von der Klarinettenstimme abweichend.

Edition SchottMainz Carl Fischer EditionNew York Duo for clarinet and piano op.

Edition Schott, Mainz Hacker, Alan and Richard Burnett. Yale University Press, Allgemeine musikalische Zeitung, Cambridge University Press, Lawson, Colin and Neal Peres da Costa. Lawson, Colin and Stole, Robert. The Historical Performance of Music: Remember me on this computer. Enter the email address you signed up with and we’ll email you a reset link. Click here to sign up. Help Center Find burggmuller research papers in: