The man
- (5 April 1784 – 22 October 1859)
- Violinist, conductor, composer
- Wrote ten symphonies, ten operas, eighteen violin concerti, four clarinet concerti, four oratorios and various works for small ensemble, chamber music and art songs
- Fun fact: he invented the violin chinrest
- Style: between Classicism and Romanticism
My chosen
piece: Zwiegesang Op.103 No.2 (doesn't start until 0:18)
- Structure: short Introduction, Exposition including Modulation, Instrumental, Second section including modulation
- Clarinet- to have a conversation with the voice, Soprano voice- main part and piano- generally plays broken chords
- The voice part is much more ornamented than the other parts
- Begins with the piano introducing the key with an arpeggio, then the clarinet comes in with tenuto notes on the tonic (0:20)
- Clarinet continues with a legato melody that is not very ornamented, only once and on the last few notes there are trills (0:26)
- The clarinet part then plays with this melody throughout, using it to introduce the voice in the call-and-response theme that continues for the voice and clarinet throughout much of the piece. It is also used to introduce changes key (e.g. at 0:52)
- Extensive use of crescendos and diminuendos (not anything like terraced dynamics)
- Very lyrical style- it is probably Lied
- Simple, "safe" harmony throughout, provided almost entirely by the piano, as the clarinet plays mostly at different times to the voice, or in unison with it
- Tonality is major, with a few minor bars in the middle (0:53-0:59)
- Some use of tempo changing, e.g. there are small ritardandos at e.g. 0:45 and 2:05 and one at the end of the piece
- Polyphonic texture
- Mostly quaver movement
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