Clarinet Concerto (Copland) - Style and Structure

Style and Structure

Copland incorporated many jazz elements into his concerto.

Mellers —Copland being representative of the American "Other"— links Copland’s affinity for jazz elements with the fact that “both Negro and Jew are dispossessed people who have become, in a cosmopolitan urban society, representative of man’s uprootedness.”

Copland himself acknowledged that his signature "bittersweet lyricism" like in the first movement of the Clarinet Concerto may have been influenced by his feelings of loneliness and social alienation over his homosexuality.

On the piece, Copland writes:

"The instrumentation being clarinet with strings, harp, and piano, I did not have a large battery of percussion to achieve jazzy effects, so I used slapping basses and whacking harp sounds to simulate them. The Clarinet Concerto ends with a fairly elaborate coda in C major that finishes off with a clarinet glissando – or "smear" in jazz lingo."

The piece is written in a very unusual form. The two movements are played back-to-back, linked by a clarinet cadenza. The first movement is written in A-B-A form and is slow and expressive, full of bittersweet lyricism. The cadenza not only gives the soloist an opportunity to display his virtuosity, but also introduces many of the melodic Latin American jazz themes that dominate the second movement.

The overall form of the final movement is a free rondo with several developing side issues that resolve in the end with an elaborate coda in C major. Copland noted that his playful finale is born of

"an unconscious fusion of elements obviously related to North and South American popular music (for example, a phrase from a currently popular Brazilian tune, heard by me in Rio, became embedded in the secondary material)."

This section was written specially for Benny Goodman's jazz talents; however, many of the technical challenges were above Goodman's confidence level, and the original score shows several alterations by Goodman to bring down higher notes, making it easier to play. The manuscript page of the original coda has suggested changes by Goodman in pencil, and the memo on top reads:

"1st version —later revised— of Coda of Clarinet Concerto (too difficult for Benny Goodman)"

Indeed, although Goodman certainly was an accomplished clarinet player he had his limitations. This can also be heard in his recording of the Nielsen clarinet concerto under Morton Gould with the Chicago Symphony Orchestra

Recently, performances of the restored original version have been given by Charles Neidich and Andrew Simon, amongst others. In the liner notes of the Chandos CD Composers in New York, Charles Neidich writes:

"...of that coda, complete with a tremendously brilliant clarinet part: cascading arpeggios which decided were too difficult for the clarinet and which in the revised version he gave to the piano."

Only a few recordings of this version have been made (see the discography section below).

The concerto contains other notable references such as material from “The Cummington Story”, an "Office of War Information Documentary" (written in 1945) which sets the stage for the film's church-centered small town. It is the refugees’ theme from the unpublished film score that is used in the concerto.