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| ORIGINAL WORKS: SOLO CONCERTS | |  |
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| description | | |
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Ernst Wilhelm Wolf
(1735-1792)
Concert for Piano and Orchestra
Bb maj (1785)
edited by Richard Fuller
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This pocket score has a
yellow cover
with black print. |
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| size of the pocket score: | 22,4 x 16,6 cm |
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| all trade prices without tax! |
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| price of the pocket score: | No.23P/545 | EUR 10,90 |
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| From this work, we did'nt make the performing material! |
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| price of the full size score: | No.23D/545 | EUR 23,26 |
| (size: A4, 29,7 x 21cm, 44 pages, spiral binding) |
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| If you are interested in the complete performance material of this work, please contact us. |
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Wolf's clavier concerto in Bb is a mature composition of German classicism and exhibits both elements of the learned (gelehrt) and sensitive (Empfindsamkeit) styles, firmly in the tradition of the Berlin school. Both C.P.E. Bach's and J.A. Benda's requisite that music should touch the emotions (Affektenlehre) has been admirably fulfilled in this work.
The concerto exhibits a fully-developed orchestral texture (4-part string writing and wind contingent with more to do than merely add supporting harmony). The soloist has the choice of keyboard instrument, although typical of many concertos of the period, the outer movements seems to suggest a performance on the harpsichord while the dramatic slow movement suggests a more effective performance on the fortepiano.
The first movement (282 measures) is in the developed form of the classical concert with a polythematic exposition, development and recapitulation. The clavier and orchestral parts are interwoven in a way not unlike Mozart. The string texture is dense and the clavier is generally accompanied even in solo sections. The motivic process begins already in the exposition (mm. 92 -97). After the following orchestra ritornello, the development is quite extended (48 measures, mm. 145-192). The recapitulation presents a new, expressive solo passage for the clavier (mm. 208 - 225), as late as in m. 232 the solo theme comes again. A lengthy solo section leads to the final ritornello. An affinity to C.P.E. Bach can at times be discerned (e.g. mm. 256 - 263).
The second movement is a gem of Mozartean lyricism. Wolf's work as an opera composer is apparent in the interweaving of the solo part and the orchestra. The clavier sings much like a celebrated soprano, dramatic tension rises to a climax in the middle section.
The third movement is not called a rondo per se, but in fact it is a varied rondo in andante tempo with rather simple and spirited orchestra ritornellos and a clavier part ornamented in the gelehrte manner. The classical style of a later generation announces itself with brilliant passage work (mm. 58 - 64). After an unmarked minore-maiore-minore section (mm. 78 - 92/93 - 108/ 109 - 132/133 - 144) the rondo closes with a stretto-like ritornello with interchanging solo and tutti.
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Dr. Heinz Anderle is the scientific adviser of the music publisher Wolfgang Kiess. He is the promotor of the present series of works.
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| Piano Concert, Bb maj, Allegro, score | |  |
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