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The concerto ends with a movement in A major. This movement is a blend of sonata and rondo forms that Mozart developed in his piano concertos, most notably the A major Piano Concerto, K. 488. [32] It is in A–B–A–C–A–B–A form, with the middle A's being shorter restatements of the theme, unlike regular rondo form which is ABACA.
A clarinet concerto is a concerto for clarinet; that is, a musical composition for solo clarinet together with a large ensemble (such as an orchestra or concert band). Albert Rice has identified a work by Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled "Concerto per il Clareto ...
The Clarinet Concerto ends with a fairly elaborate coda in C major that finishes off with a clarinet glissando – or "smear" in jazz lingo." The piece is written in a very unusual form. The two movements are played back-to-back, linked by a clarinet cadenza .
Carl Maria von Weber wrote his Clarinet Concerto No. 1 in F minor, Op. 73 (J. 114) for the clarinettist Heinrich Bärmann in 1811. The piece is highly regarded in the instrument's repertoire. It is written for clarinet in B ♭. The work consists of three movements in the form of fast, slow, fast.
The 1st movement typically lasts for approximately 8:30 minutes, the 2nd movement for approximately 7 minutes and the 3rd movement for between 6:30 and 7 minutes depending on the tempo. Like all of Weber's clarinet works except for the Grand Duo Concertant, it is dedicated to Heinrich Baermann, who was soloist at the premiere [2]
The Concerto for Clarinet and Orchestra is a clarinet concerto in three movements by the American composer John Corigliano. The work was commissioned by the New York Philharmonic for the clarinetist Stanley Drucker .
Walter Piston's Concerto for Clarinet and Orchestra, was written in 1967.It was commissioned for the Hopkins Center Congregation of the Arts at Dartmouth College by its music director, Mario di Bonaventura, who conducted the world premiere on August 6, 1967, at the Congregation of Arts Festival, with clarinetist Donald Wendlant and the Dartmouth Symphony Orchestra.
Included in this group were: Aaron Copland (Concerto for Piano, 1926), Maurice Ravel (Concerto for the Left Hand, 1929), Igor Stravinsky (Ebony Concerto for clarinet and jazz band, 1945) and George Gershwin (Concerto in F, 1925). [32] Still others called upon the orchestra itself to function as the primary virtuosic force within the concerto form.