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Copland Clarinet Concerto Score PDF: A Masterpiece of American Music

If you are looking for a challenging and rewarding piece of music to play on the clarinet, you might want to consider Copland’s Clarinet Concerto. This concerto, written by one of the most influential American composers of the 20th century, is a brilliant fusion of classical and jazz styles, showcasing the versatility and expressiveness of the clarinet.

History of the Copland Clarinet Concerto

The Copland Clarinet Concerto was commissioned by Benny Goodman, the famous jazz clarinetist and bandleader, in 1947. Goodman wanted a piece that would showcase his virtuosity and musical taste, and he gave Copland complete freedom to write whatever he wanted. Copland accepted the challenge and composed the concerto between 1947 and 1949, while he was traveling in South America as a lecturer and conductor.

The concerto consists of two contrasting movements, connected by a cadenza. The first movement is slow and lyrical, with a melancholic and nostalgic mood. The second movement is fast and rhythmic, with a lively and playful mood. The cadenza serves as a bridge between the two movements, as well as a solo showcase for the clarinetist.

The concerto was premiered by Goodman on an NBC radio broadcast with the NBC Symphony Orchestra conducted by Fritz Reiner, on November 6, 1950. It was later choreographed by Jerome Robbins for the ballet Pied Piper (1951). Since then, it has become one of the most popular and performed concertos for clarinet, admired by both classical and jazz musicians.

How to Get the Copland Clarinet Concerto Score PDF

If you want to play or study the Copland Clarinet Concerto, you will need to get a copy of the score. The score is available in PDF format from various online sources, such as:

• Boosey & Hawkes, the official publisher of Copland’s works.
• Sheet Music Plus, a large online retailer of sheet music.
• IMSLP, a free online library of public domain sheet music.

Before you download or purchase the score, make sure you check the quality and accuracy of the PDF file. Some sources may have errors or omissions in the notation or layout. You may also want to compare different editions or versions of the score, as there may be some differences in details such as articulation, dynamics, or tempo markings.

How to Play the Copland Clarinet Concerto

The Copland Clarinet Concerto is not an easy piece to play. It requires a high level of technical skill, musical expression, and stylistic awareness. Here are some tips to help you prepare and perform this challenging work:

• Listen to different recordings of the concerto, especially those by Benny Goodman and other renowned clarinetists. Pay attention to how they interpret the piece, how they phrase and articulate the melodies, how they use vibrato and tone color, how they improvise in the cadenza, and how they interact with the orchestra.
• Practice with a metronome and a tuner to improve your rhythm and intonation. The concerto has many changes in tempo and meter, as well as some tricky passages that require precise finger coordination and breath control. You also need to be able to play in tune with yourself and with the orchestra, especially in the first movement where there are many unison passages.
• Study the score carefully and analyze the structure and harmony of the piece. The concerto is based on a few thematic motifs that are developed and transformed throughout the piece. You need to understand how these motifs relate to each other and how they create contrast and coherence in the musical form. You also need to be aware of the harmonic language of Copland, which combines tonal and modal elements with chromaticism and jazz chords.
• Work on your musical expression and communication. The concerto is full of emotion and character, ranging from sadness and nostalgia to joy and humor. You need to convey these feelings through your sound, phrasing, dynamics, articulation, and body language. You also need to communicate with the conductor and the orchestra, following their cues and gestures, matching their style and mood, and creating a musical dialogue with them.

Analysis of the Copland Clarinet Concerto

The Copland Clarinet Concerto is a remarkable example of how Copland blended different musical influences and styles in his compositions. The concerto reflects his interest in American folk music, jazz, Latin American music, and classical forms and techniques. The concerto also demonstrates his mastery of orchestration, harmony, melody, and rhythm.

First Movement

The first movement of the concerto is based on a simple A-B-A song form, with a short introduction and a coda. The introduction presents the main theme of the movement, a lyrical and melancholic melody played by the clarinet over a soft string accompaniment. The theme is based on a pentatonic scale, which gives it a folk-like quality. The theme also features a characteristic interval of a major seventh, which creates a sense of longing and tension.

The A section develops the main theme in various ways, modulating to different keys and changing the accompaniment patterns. The clarinet plays expressive variations of the theme, sometimes in dialogue with the strings, sometimes in unison with them. The harp and piano add color and texture to the orchestration, creating a rich and warm sound.

The B section contrasts with the A section in mood, tempo, and harmony. The tempo becomes faster and more agitated, and the harmony becomes more chromatic and dissonant. The clarinet plays a new theme that is more angular and rhythmic than the main theme. The theme is based on a twelve-tone row, which shows Copland’s familiarity with the serial technique of Schoenberg and his followers. The theme also features syncopated rhythms and accents, which suggest a jazz influence.

The B section builds up to a climax, where the clarinet plays a virtuosic passage of fast notes and wide leaps. The orchestra supports the clarinet with loud chords and percussive effects. The tension is then released by a sudden silence, followed by a solo cadenza for the clarinet.

Cadenza

The cadenza serves as a transition between the first and second movements of the concerto. It also gives the clarinetist an opportunity to display their technical and musical skills. The cadenza is partly written out by Copland, but it also allows some freedom for improvisation by the performer.

The cadenza begins with a recapitulation of the main theme of the first movement, played softly and slowly by the clarinet. The theme gradually becomes more embellished and ornamented, as the clarinet explores different registers and timbres of the instrument. The cadenza then shifts to a faster and more rhythmic section, where the clarinet plays fragments of the twelve-tone theme from the B section. The fragments become more varied and complex, as the clarinet uses techniques such as trills, glissandos, multiphonics, and flutter tonguing. The cadenza ends with a high note that leads into the second movement.

Second Movement

The second movement of the concerto is based on a rondo form, with a recurring main theme (A) alternating with contrasting episodes (B, C, D). The main theme is lively and playful, with a catchy melody and syncopated rhythms. The theme is influenced by jazz and Latin American music, especially Brazilian samba. Copland actually quotes a popular Brazilian tune called «Rebola bola» in the theme.

The B episode introduces a new melody that is more lyrical and romantic than the main theme. The melody is played by the clarinet over a lush string accompaniment. The melody modulates to different keys and changes its meter from 4/4 to 3/4.

The A theme returns in its original form, followed by a C episode that features a solo for the piano. The piano plays an energetic and jazzy passage that resembles a boogie-woogie style. The passage includes blues scales, chords, and riffs.

The A theme returns again in an abbreviated form, leading to a D episode that features a solo for the harp. The harp plays an elegant and delicate passage that contrasts with the piano solo. The passage includes arpeggios, glissandos, and harmonics.

The A theme returns for the last time in an extended form, with some variations and embellishments by the clarinet. The orchestra joins in with more force and excitement, creating a festive atmosphere. The concerto ends with a brilliant coda that finishes with a clarinet glissando or «smear» in jazz lingo.

Performance Tips for the Copland Clarinet Concerto

The Copland Clarinet Concerto is a demanding piece that requires a lot of preparation and practice. Here are some tips to help you perform this piece with confidence and style:

• Listen to different recordings of the concerto, especially those by Benny Goodman and other renowned clarinetists. Pay attention to how they interpret the piece, how they phrase and articulate the melodies, how they use vibrato and tone color, how they improvise in the cadenza, and how they interact with the orchestra.
• Study the score carefully and analyze the structure and harmony of the piece. The concerto is based on a few thematic motifs that are developed and transformed throughout the piece. You need to understand how these motifs relate to each other and how they create contrast and coherence in the musical form. You also need to be aware of the harmonic language of Copland, which combines tonal and modal elements with chromaticism and jazz chords.
• Practice with a metronome and a tuner to improve your rhythm and intonation. The concerto has many changes in tempo and meter, as well as some tricky passages that require precise finger coordination and breath control. You also need to be able to play in tune with yourself and with the orchestra, especially in the first movement where there are many unison passages.
• Work on your musical expression and communication. The concerto is full of emotion and character, ranging from sadness and nostalgia to joy and humor. You need to convey these feelings through your sound, phrasing, dynamics, articulation, and body language. You also need to communicate with the conductor and the orchestra, following their cues and gestures, matching their style and mood, and creating a musical dialogue with them.
• Follow the printed score as closely as possible, but also add some personal touches to make the piece your own. For example, you can vary the dynamics, vibrato, or articulation slightly to emphasize certain notes or phrases. You can also improvise some ornaments or embellishments in the first movement, as long as they fit the style and harmony of the piece. In the cadenza, you can follow Copland’s written notes or improvise your own, as long as you respect the structure and mood of the piece.
• Have fun and enjoy playing this masterpiece of American music!

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