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For David Van Maele
For Bb/Eb Clarinet and Symphony Orchestra
This work was commissioned by the belgian clarinetist David Van Maele and finished in April 2017.
The “III Concerto” for Clarinet in Bb/Eb and Symphony Orchestra, follows the format of the previous two clarinet concertos (Concerto and II Concerto) in terms of its structure, but the great difference comes from the inclusion of the Eb clarinet as a new instrument, which has, in this new concerto, large parts as protagonist interspersed with the Bb Clarinet.
This Concerto is divided in three large, clearly differentiated sections without a break between them, emphasizing different rhythms by the soloist throughout the entirety of the work:
It begins with a great cadenza that is explosive, forceful and with great power that draws us full in to a work charged with contrasts, great orchestral moments and a great deal of dialogue between the soloist and the symphony orchestra.
After the beginning cadenza it presents one of the main themes of mysterious character, with esoteric brushstrokes that, little by little, bringing forth life until merging with the great entire orchestra.
Once again, a cadenza serves as a connection to a new theme, completely dedicated to the Eb clarinet and with a character and style that breaks completely with the beginning of the piece; one moment burlesque in the form of a scherzando in which a dialogue between the Eb clarinet and the symphony orchestra, charged with contrasts in rhythms and harmonies, and ends with the full orchestra in a certain Latin touch that fades little by little until melting into a new great section, a section which leads us to the same paradise.
This new section is inspired by a voyage to the great beyond, to paradise, where those who have already left rest and where the children fill the horizon with smiles. This is a movement with an intimate nature and with the use of a childlike melody, which leads us little by little to an overall vision of paradise, a majestic view in which the sound of the bells merges with all the brass which fades away, leaving us with an image more and more distant from that place that we can access only through dreams.
And, as if it all had to do with a dream, we return to reality with the impetuous arrival of the third section, beginning with an energetic introduction that leads to a new main theme of a mysterious nature and technically frenetic, which develops gradually as the measures progress. A final movement, charged with contrasts, energy and certain touches of Arabic music on great rhythmic ostinatos. Once more the soloist alternates the use of the two clarinets in order to create a great final discourse, in which new moments remind us of the start of the work but of a much more conclusive and grandiose character.