Beethoven''s apparent disregard for the technical challenges he presented musicians is well known. Yet he also developed close relationships with a number of musicians and may have been influenced by their advice when writing for their instruments. This work examines Beethoven''s relationship with the clarinet. The book begins by studying the history of the clarinet to place in context the stage of development reached during the time Beethoven was writing his symphonies. It also traces the role the clarinet had played up to that point within the orchestra. It then focuses on the clarinettists known to have associated with Beethoven, before moving to an indepth study of the clarinet parts in the symphonies themselves. This examination highlights the changing role of the clarinet through the nine symphonies and refers to their suitability for the type of instrument existing at the time.
Ludwig Van Beethoven. Symphonies 1, 2 & 3With the Berlin Philharmonic under Herbert von Karajan, Beethoven's First Symphony is marked by its fire and finesse, the Second by its exquisite winds and strings, and the "Eroica" is played with members of the orchestra seated as though performing in an Ancient Greek theatre. Ludwig Van Beethoven. Symphonies 4, 5 & 6Herbert von Karajan directs the Berlin Philharmonic in an Italianate take of Beethoven's Fourth Symphony and an assured rendering of the Fifth, while the "Pastoral" Symphony, conceived and directed by Hugo Niebeling in 1967, is a revolutionary mix of styles - Fantasia meets Expressionism meets film noir. Ludwig Van Beethoven. Symphonies 7, 8 & 9With the Berlin Philharmonic under Herbert von Karajan, Beethoven's Seventh Symphony resounds with melodic force, the Eighth is a masterful blend of grace and wit, and the Ninth - directed by Karajan himself - is a vital and explicitly dramatic reading of Beethoven's revolutionary work.