Carl Maria von Weber’s Clarinet Concerto No. 2
Notes by TŌN violinist Carlos Torres
The collaboration between composers and performers has long been a source of artistic flourishing, giving rise to works that captivate audiences across time. Weber’s Clarinet Concerto No. 2 stands as a testament to this idea—a product of the creative synergy between a visionary composer and a virtuoso performer. Written for Heinrich Baermann in 1811, one of the most remarkable clarinetists of his time, this concerto is both an exploration of the instrument’s expressive potential and a reflection of the deep human emotions that music can convey.
Raised as a child prodigy under the example of Mozart, Weber was immersed in theatrical storytelling and expressive composition from an early age. His father, a traveling theater director, ensured that young Carl was constantly surrounded by drama, opera, and symphonic music, shaping his deeply lyrical and dramatic style. This background, combined with his training under Michael Haydn and Abbé Vogler, gave Weber a distinctive compositional voice, seeking emotion, character, and narrative within instrumental music.
This influence is evident in the concerto’s dramatic contrasts, lyrical arias, and almost operatic dialogues between the soloist and orchestra. The first movement, for instance, mirrors an operatic overture, with bold orchestral statements answered by the clarinet in agile, recitative-like flourishes. The second movement serves as the emotional heart of the piece, evoking an intimate aria, with the clarinet singing over a delicate orchestral accompaniment. The finale transforms into a dazzling dance, reminiscent of an operatic finale where characters rejoice in exuberant celebration.
In 1811, during a tour through Munich, Weber met Baermann, whose clarinet playing was described as mesmerizing and expressive. It was this moment of musical communion that opened new possibilities for Weber. Baermann embodied a radically different clarinet sound than his predecessors. His playing was known for its homogeneous tone from top to bottom, a quality Weber deeply admired. This is particularly noticeable in the second movement, where the clarinet’s long, sustained lines demand absolute evenness of sound across registers, allowing for a vocal-like expressivity that was unique to Baermann’s style.
When the concerto was first published, it included embellishments added by Baermann, reflecting the 19th-century tradition where soloists personalized their parts with trills, grace notes, and expressive variations, much like opera singers in a da capo aria. His additions were particularly florid in the Romanza, enhancing its aria-like quality, and in the Alla polacca, where extra flourishes made the finale even more dazzling. While absent from Weber’s original manuscript, these ornaments were likely standard practice at the time. Nowadays, some clarinetists adhere to Weber’s score for historical accuracy, while others incorporate tasteful ornamentation, striking a balance between authenticity and the expressive flexibility of Baermann’s era.