Download Weber Analysis - Mr. John Patzlaff

John Patzlaff
Dr. Wieland
MUS 313
April 12, 2013
Weberisms: Little Pieces in a Bigger Picture
I enjoy Carl Maria von Weber’s works mostly because of the grand ideas presented, even
in his smaller works. Being one of the fathers of German Romantic Opera, many of his
compositions are grandiose with rich orchestrations and a strong emphasis on chromaticism and
color chords. Even in his clarinet works, the dynamics and tones between the piano and clarinet
make the audience and the performer feel like they are in a large performance. There are,
however, specific compositional tools Weber uses in his clarinet works that stand out to me as I
play them. These ideas or techniques occur in most, if not all, of his clarinet works. These ideas
unite Weber’s clarinet works and help establish them as part of standard clarinet repertoire.
The first musical idea I noticed was a series of long, trilled notes, occurring for two or
four measures. These notes would sometimes just have trills, but sometimes they would also
have grace notes attached to them, almost creating mordents. The contour of the melodic line of
all of the examples rises, suggesting a building motion. Weber seems to use this when he wants
the intensity of his piece to build to a forte or a fortissimo.
Example 1: Variations on a Theme from Silvania, Variation 5, measure 14
Made up of trilled quarter notes rising chromatically, this measure acts as a transition between
the preceding five measures and the last four. It also accelerates the piece and increases the
dynamic level, adding tension to the end of this variation, especially since the previous section
backs away from the variation’s beginning tempo.
Example 2: Concerto No. 2, Movement1, measure 176-181
In contrast to example 1, example 2 functions as a growing cadence, occurring at the end of the
development of this movement. The last trill, leading to the tonic, gives evidence to this.
Utilizing longer notes, this idea acts much more drawn out, trying to find resolution and then
achieving it after progressing upwards chromatically.
Example 3: Grand Duo Concertate, measure 248-254
Much like Example 2, Example 3 functions as a cadence to the previous section. However, this
figure is augmented even more than Example 2, drawing out the trills and even adding a run up
to the next trill to add connectivity. I dislike how Weber draws out this cadence, especially after
measures upon measures of solid sixteenths.
The next musical idea serves the same function as the rising, trilled notes but using a
different technique. Weber would sometimes use a rising scale of sixteenth notes to suggest a
crescendo (even if he didn’t write one), using either complete staccato tonguing or a “slur two,
tongue two” pattern. Usually establishing a key for the next section to follow, this idea builds
excitement and shows off the player’s virtuosity, making this a great technical addition to the
work.
Example 4: Clarinet Quintet, Movement 3, measures 245-250
This run, much like the trills, acts as a bridge between sections. It features the clarinet alone,
followed by the quartet playing eighth notes. After this, the run occurs again in the same pattern
but a whole step lower, suggesting a sequence.
Example 5 Concerto No. 2, Movement 1, measures 133-137
This figure occurs at the end of the exposition, and acts as an ending rather than a bridge. What I
find interesting in this example is how it begins diatonically and has the last two eighth notes be
chromatic instead. This serves more to fill out the measure than serve a musical purpose, but it
does sound like it adds slight tension to the line. Even more interesting than that, the next
following notes are the long, trilled notes as a conclusion to this phrase. Weber even goes out of
his way to combine his techniques as well as use them separately.
Example 6 Weber’s Concerto No. 1, Movement 1, measures 121-123
This example is similar to the previous example, acting more as an ending than a bridge to the
next section. Also like the previous example, it proceeds directly to the scale instead of waiting
on the first note like Example 4. The cadence that follows is slightly different than Weber’s usual
cadences. The end is similar to ending cadences found in Devienne’s Sonata.
The most important and clearest depiction of repeated figures in Weber’s clarinet works
is very distinct. While the other figures are transposed based on the key of the piece, this figure
retains its pitches and rhythm in all three renditions. It outlines a F# diminished chord, and the D
is a passing tone.
Example 7: Sample Figure
This figure usually ends a phrase. In the first movement of Weber’s Concerto No. 1, it ends the
piece. As an ending, Weber usually add accents and a forte dynamic level. It usually ends up
sounding like a dramatic end to a sentence, containing passion, tension, and some resolution.
Example 8: Concertino, measures 83-84
This example occurs midway in the piece, during a variation of the main theme. This figure acts
more like a bridge than an ending, leading into a descending, chromatic triplet line. Having this
line occur higher in the clarinet’s range makes it the high point of the line, cementing the figure
as a dramatic high point.
Example 9: Concerto No. 2, Movement 1, meausures 95-96
Acting as a ending, this example ends the exposition. This example shows how Weber can
instinctively add this figure into his line. The figure occurs at the end of a chromatic line,
creating tension that culminates in the resolution.
Example 10: Concerto No. 1, Movement 1, measures 284-288
This occurrence of the figure is special because it occurs as the ending cadence of the piece. This
works because this movement is in g minor, and the figure, ending in g, can act as a strong
cadence rather than just a link or an ending of a section. Missing the first two notes, it becomes a
succinct and conclusive ending.
The possibility that all of these ideas could exist in multiple works for the same
instrument by the same composer is quite fascinating. Having some continuity between these
works makes them seem more related, making me very curious to play the others and try to find
more commonalities. This ability to have continuous elements show up in his works makes Carl
Maria von Weber one of my favorite composers.
Materials Used
Concertino, ed. by Arthur Henry Christmann, G. Schirmer Inc., 1973.
Concerto No. 1, ed. by Frank Heidelberger, Schott Music, 2012.
Concerto No. 2, Carl Fischer Inc., 1939
Grand Duo Concertante, Cundy-Bettoney
Quintet, Study Score, Eulenberg, 2011.
Variations on a Theme from Silvania, Schott Music, 2005.