Franz Danzi (1763–1826) Concert piece No. 1 in Bb major Op. 45
edited by John Paul Newhill
original scoring: clar, orch
28 pages | 23 x 30,5 cm | 134 g | ISMN: 979-0-004-48849-2 | Saddle Stitch
The title of the piece is not historically
legitimated. Danzi called his concert pieces "potpourris" and had all three works published under this genre title, which was very "in" at that time.
Franz Danzi was baptised in Schwetzingen on 15 June 1763. His father was a cellist in the famous Mannheim orchestra, and Franz also joined the orchestra as cellist at the age of 15. After a spell as Kapellmeister in Stuttgart (where he became friends with Weber), Danzi moved to Karlsruhe in 1812. He died there on 13 April 1826.
Danzi’s compositions covered the whole spectrum from opera, church music, orchestral works to chamber music. His works for clarinet include three solo pieces for clarinet and orchestra, a concertante for clarinet and flute, a sonata for clarinet & piano, a sonata for bassethorn and piano and eight wind quintets (the works for which he is principally known today).
The present work was published by Breitkopf & Härtel around 1813 and this arrangement for clarinet and piano is based on a copy of the original edition in the Deutsche Staatsbibliothek in Berlin. The title page reads: “Pot-pourri pour la Clarinette avec accompagnement de deux Violons, Viola et Basse, Flûte, 2 Hautbois, 2 Bassons et 2 Cors ad libitum par F. Danzi, op. 45.” The wind parts do not add anything of melodic interest, but feature more or less entirely in the tuttis. The title of the work has here been changed to “Concert Piece No. 1” as Danzi’s later two “Pot-pourris” have already been published as “Concert Pieces Nos. 2 and 3.”
There are very few dynamic markings in the original edition. In fact, the clarinet solo part contains only three (in mm. 21, 23 and 24). All dynamic markings in brackets are therefore suggestions by the editor. The same applies to the metronome markings. The dotted slurs in the solo part are again the suggestion of the editor. Two notes have been changed in the solo part. In m. 13 the original has the # before the g2 instead of before the f 2. Also in m. 139 the second group of sixteenth notes is b2–g2–f 2#–g2 in the original.
Sale, Cheshire, Spring 2008