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Based on the musicological findings that the solo freedom of ornamentation and improvisation could still be quite pronounced in the post-Baroque era, I revised the solo part in Stamitz's clarinet concerts. Mozart offered me a stylistic orientation with his cadences and melodic ornamentation techniques in his instrumental concerts. All the additions obey the motto of preserving the musical flow or of creating it where it is fragmented by a block thought that is too schematic.
Since the modern clarinet is superior to the instrument of Stamitz's time in terms of intonation in the various registers, I relaxed what occasionally focuses on the acute clarinet and transposed it into the lower registers for reasons of variety. I was able to fulfill Sabine Meyer's desire to reconstruct effective and complete solo concerts starting with Stamitz's clarinet concerts, which are a bit scholastic. Thanks to the CD recordings (Vol. 1 + 2), Stamitz's clarinet concerts in my edition have received a significant boost in terms of reception history. The frequent request for the solo cadences and ornaments I composed prompted me to publish the entire score of my work on Stamitz's concerts in a single volume of scores, “packed”, so to speak, as a reprint. Because I wrote my sketches, drafts, ornaments, and cadences for Stamitz's concerts more than 30 years ago, they are only available as a mixture of handwritten notes or prints of still-primitive notation programs. The renowned clarinetist Nicolai Pfeffer, who in the meantime has also made a name for himself as curator of accurate editions of the clarinet repertoire, examined all my Stamitz concert scores and carefully modified them for practical use.
To keep the size and price of this anthology within an economic framework, we have limited ourselves to the clarinet parts only that I have adorned, including all the cadences. However, since my solo parts are compatible with all current piano reductions and other printed editions without any restrictions, a smooth comparison is possible based on the corresponding bar numbers. This way, each performer can test their version based on a comparison.
The additional information on articulation, phrasing, and dynamics is only a recommendation on my part. As an appendix, I added the solo cadence I composed for Sabine Meyer for the first movement of Johann Stamitz's Concerto. It was composed a few years earlier, during our musical studies together in Hanover.
Based on the musicological findings that the solo freedom of ornamentation and improvisation could still be quite pronounced in the post-Baroque era, I revised the solo part in Stamitz's clarinet concerts. Mozart offered me a stylistic orientation with his cadences and melodic ornamentation techniques in his instrumental concerts. All the additions obey the motto of preserving the musical flow or of creating it where it is fragmented by a block thought that is too schematic.
Since the modern clarinet is superior to the instrument of Stamitz's time in terms of intonation in the various registers, I relaxed what occasionally focuses on the acute clarinet and transposed it into the lower registers for reasons of variety. I was able to fulfill Sabine Meyer's desire to reconstruct effective and complete solo concerts starting with Stamitz's clarinet concerts, which are a bit scholastic. Thanks to the CD recordings (Vol. 1 + 2), Stamitz's clarinet concerts in my edition have received a significant boost in terms of reception history. The frequent request for the solo cadences and ornaments I composed prompted me to publish the entire score of my work on Stamitz's concerts in a single volume of scores, “packed”, so to speak, as a reprint. Because I wrote my sketches, drafts, ornaments, and cadences for Stamitz's concerts more than 30 years ago, they are only available as a mixture of handwritten notes or prints of still-primitive notation programs. The renowned clarinetist Nicolai Pfeffer, who in the meantime has also made a name for himself as curator of accurate editions of the clarinet repertoire, examined all my Stamitz concert scores and carefully modified them for practical use.
To keep the size and price of this anthology within an economic framework, we have limited ourselves to the clarinet parts only that I have adorned, including all the cadences. However, since my solo parts are compatible with all current piano reductions and other printed editions without any restrictions, a smooth comparison is possible based on the corresponding bar numbers. This way, each performer can test their version based on a comparison.
The additional information on articulation, phrasing, and dynamics is only a recommendation on my part. As an appendix, I added the solo cadence I composed for Sabine Meyer for the first movement of Johann Stamitz's Concerto. It was composed a few years earlier, during our musical studies together in Hanover.
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