*This post is part of a series on Gerald Finzi's Clarinet Concerto, Op.31 for clarinet and string orchestra. Feel free to read the other posts, linked below!*
Clarinet Concerto, Op.31
I. Allegro vigoroso (post)
II. Adagio ma senza rigore
III. Rondo: Allegro giocoso (post)
As in the post on the first movement of Finzi's Clarinet Concerto (performed by soloist Robert Plane with the Royal Northern Sinfonia, directed by Howard Griffiths), I'll share a walkthrough of the piece, pointing out important moments, techniques, and motifs.
(7:52) As a stark contrast to the first movement, the second movement begins with a lamenting Adagio, centering on two key dissonances: (1) a minor second (half-step) of G-A♭ and (2) a tritone A♭-D. The marking con sordino (It. "with mutes") instructs the string players to use string mutes, significantly changing the tone and dynamic reach of the notes played.
(8:15) The strings break out into multiple parts, rather than exchanging a single line as before. The dissonances between the string lines slowly resolving and becoming suspended creates a musical 'wandering' effect.
(8:30) The dissonance between D-E♭ resolving to C-E♭ stands out to me here.
(8:40) The clarinet enters from niente (It. "nothing"); it isn't marked in the score, but Plane starts from there anyway, slowly emerging from the string sustain. The clarinet cadenza (this is also a cadenza, startlingly different from the one near the end of the first movement) centers on the same intervals as the opening violin figures. The hairpin dynamics always peak at the local highest note (where the contour direction changes), which lends itself to tone changes in clarinet register, which get brighter as you move up the range of the instrument.
(8:58) When the strings die out here, Finzi really milks the clarion and lower altissimo register for their more piercing tone. Plane carries the melody with incredible grace, but the mf dynamic at the height of the contour is far easier than marking it at mp or quieter. A tone of desolation rings here.
(9:13) The clarinet fading out on A5 (concert G5) is relatively easy to manage. The strings return in similar style as before; entering on VI7 (A♭M7) with a closed voicing of the A♭ major chord in the lower string and octave Gs floating overhead creates a simultaneous warmth and frostiness.
(9:24) The Neapolitan sixth (N6) makes a gorgeous return here, instantly darkening the harmony.
(9:35) The subsequent use of B♭ major (D♭ from N6 → D♮ from VII) softens the tone again before the clarinet entrance.
(9:41) Clarinet entrance; using the same relative intervals as before, up a perfect fourth (concert C-D♭ and D♭-G). The clarinet fading out on D6 (concert C6) is far more difficult, as an altissimo note. Plane renders this perfectly, without thinning out prematurely.
(9:56) Beautiful string motif. This melody makes multiple appearances in the second movement, in major and minor keys.
(10:30) Clarinet enters on the same opening figure, starting on concert D5.
(10:47) This sudden change in character from c minor to f minor via b♭ minor took me by surprise the first time I heard it — immediate chills.
(11:05) Clarinet embellishes the melody in violins with a sixteenth-note arpeggiated figure with suspensions and resolutions back-to-back in its motion.
(11:16) The brief departure from B♭ major using the concert A♭ major chord is artfully written into the clarinet melody.
(11:28) This string passage makes its first appearance with a relatively relaxed tone. One might consider this phrase to be the start of the exposition, as it is later repeated. However, unlike the first movement, this one does not have a strong sonata form — the repeated sections are scattered throughout and interspersed in other material.
(11:52) Clarinet entrance is gorgeous. Finzi's clarinet flourishes are at once captivating and emotional but also incredibly skillful, without being superficial or pretentious.
(12:25) Return of the signature melody, in c# Mixolydian (c# minor with raised sixth scale degree: A♮ → A#).
(12:38) Finzi's careful transition to b minor (clarinet in c# minor, written as d♭ minor) with violas alternating between E-D♮ compared to the earlier E-D# is both sweet and gloomy.
(12:54) The mournful violin melody here, stringing for two short phrases, perfectly sets up...
(13:11) ...the clarinet entrance, on a figure that somewhat resembles an inverted melody (but not quite; contour-wise is appears similar).
(13:31) This entrance in B major is a relaxing contrast to the minor key material that preceded it.
(13:54) These four bars are totally heart-melting. The shift from octaves to thirds in the first violins changes the character of the passage, making it feel warmer. The crystalline transparency of the clarinet line with the strings 'diffracting' through it is awesome. Successive minor seconds in the viola parts and the 4-3 suspension seen in the second violins in the last bar shown below give me chills.
(14:13) This menacing passage in 3/4 starts us off on the road to the climax. The motif in the violas (then second violins) and upper split of the cellos returns time after time through the end of the second movement.
(14:25) Clarinet enters on the same motif, and develops new ideas from a continuation of that musical line alternating between 3/4 and 2/4.
(14:41) Clarinet repeats the motif an octave up and continues on a different trajectory.
(15:08) The motif is repeated yet again, with just a clarinet D♭ in between the rest of the line. This leads to the clarinet's descending triplets, which initiates a section of growing tension that leads to the climax. The triplets become an important leading motif.
(15:22) This twice-repeated clarinet phrase is joined by strings in the second bar of the second instance with the descending triplets.
(15:56) As the tempo rapidly grinds to the starting tempo, the unofficial recapitulation begins with the same string material seen at 11:28. See the first (left) and second (right) instances.
(17:04) Return of signature melody of second movement in F# major.
(17:25) The subsequent clarinet entrance is a doleful calling out, using the Neapolitan sixth (concert A major in g# minor) to darken the tone again with the clarinet in the chalumeau register at the N6.
(17:46) A four-times repeating chord change, g#—A (i—N6), with a suspension of D# over the fifth of N6 (D#-E) gives me chills (lots of moments in this movement give me chills). The second time it occurs, it's actually g#—A7 (i—N7; uncommon notation), which produces the D#-E dissonance as well as the added dissonance of the dominant seventh (G♮-A♮).
(18:18) Clarinet enters with a melody previously heard at 13:31.
(18:43) Final statement of the signature melody leads to...
(18:54) A series of chord changes similar to that of 17:46 with f—G♭ major alternating (i—N6), also with f—G♭7 (i—N7) as the first iteration instead of the second.
(19:07) Final statement leads to a pastoral ending to the second movement.
I hope you enjoyed listening to this heavenly second movement! Leave your comments below, share this post, and look out for a post on the finale soon!
All score excerpts taken from the Hawkes & Son (1953) edition (London) via IMSLP.org.
Clarinet Concerto, Op.31
I. Allegro vigoroso (post)
II. Adagio ma senza rigore
III. Rondo: Allegro giocoso (post)
As in the post on the first movement of Finzi's Clarinet Concerto (performed by soloist Robert Plane with the Royal Northern Sinfonia, directed by Howard Griffiths), I'll share a walkthrough of the piece, pointing out important moments, techniques, and motifs.
(7:52) As a stark contrast to the first movement, the second movement begins with a lamenting Adagio, centering on two key dissonances: (1) a minor second (half-step) of G-A♭ and (2) a tritone A♭-D. The marking con sordino (It. "with mutes") instructs the string players to use string mutes, significantly changing the tone and dynamic reach of the notes played.
(8:15) The strings break out into multiple parts, rather than exchanging a single line as before. The dissonances between the string lines slowly resolving and becoming suspended creates a musical 'wandering' effect.
(8:30) The dissonance between D-E♭ resolving to C-E♭ stands out to me here.
(8:40) The clarinet enters from niente (It. "nothing"); it isn't marked in the score, but Plane starts from there anyway, slowly emerging from the string sustain. The clarinet cadenza (this is also a cadenza, startlingly different from the one near the end of the first movement) centers on the same intervals as the opening violin figures. The hairpin dynamics always peak at the local highest note (where the contour direction changes), which lends itself to tone changes in clarinet register, which get brighter as you move up the range of the instrument.
(8:58) When the strings die out here, Finzi really milks the clarion and lower altissimo register for their more piercing tone. Plane carries the melody with incredible grace, but the mf dynamic at the height of the contour is far easier than marking it at mp or quieter. A tone of desolation rings here.
(9:13) The clarinet fading out on A5 (concert G5) is relatively easy to manage. The strings return in similar style as before; entering on VI7 (A♭M7) with a closed voicing of the A♭ major chord in the lower string and octave Gs floating overhead creates a simultaneous warmth and frostiness.
(9:24) The Neapolitan sixth (N6) makes a gorgeous return here, instantly darkening the harmony.
(9:35) The subsequent use of B♭ major (D♭ from N6 → D♮ from VII) softens the tone again before the clarinet entrance.
(9:41) Clarinet entrance; using the same relative intervals as before, up a perfect fourth (concert C-D♭ and D♭-G). The clarinet fading out on D6 (concert C6) is far more difficult, as an altissimo note. Plane renders this perfectly, without thinning out prematurely.
(9:56) Beautiful string motif. This melody makes multiple appearances in the second movement, in major and minor keys.
(10:47) This sudden change in character from c minor to f minor via b♭ minor took me by surprise the first time I heard it — immediate chills.
(11:05) Clarinet embellishes the melody in violins with a sixteenth-note arpeggiated figure with suspensions and resolutions back-to-back in its motion.
(11:16) The brief departure from B♭ major using the concert A♭ major chord is artfully written into the clarinet melody.
(11:28) This string passage makes its first appearance with a relatively relaxed tone. One might consider this phrase to be the start of the exposition, as it is later repeated. However, unlike the first movement, this one does not have a strong sonata form — the repeated sections are scattered throughout and interspersed in other material.
(12:25) Return of the signature melody, in c# Mixolydian (c# minor with raised sixth scale degree: A♮ → A#).
(12:38) Finzi's careful transition to b minor (clarinet in c# minor, written as d♭ minor) with violas alternating between E-D♮ compared to the earlier E-D# is both sweet and gloomy.
(12:54) The mournful violin melody here, stringing for two short phrases, perfectly sets up...
(13:11) ...the clarinet entrance, on a figure that somewhat resembles an inverted melody (but not quite; contour-wise is appears similar).
(13:31) This entrance in B major is a relaxing contrast to the minor key material that preceded it.
(13:54) These four bars are totally heart-melting. The shift from octaves to thirds in the first violins changes the character of the passage, making it feel warmer. The crystalline transparency of the clarinet line with the strings 'diffracting' through it is awesome. Successive minor seconds in the viola parts and the 4-3 suspension seen in the second violins in the last bar shown below give me chills.
(14:13) This menacing passage in 3/4 starts us off on the road to the climax. The motif in the violas (then second violins) and upper split of the cellos returns time after time through the end of the second movement.
(14:25) Clarinet enters on the same motif, and develops new ideas from a continuation of that musical line alternating between 3/4 and 2/4.
(14:41) Clarinet repeats the motif an octave up and continues on a different trajectory.
(15:08) The motif is repeated yet again, with just a clarinet D♭ in between the rest of the line. This leads to the clarinet's descending triplets, which initiates a section of growing tension that leads to the climax. The triplets become an important leading motif.
(15:22) This twice-repeated clarinet phrase is joined by strings in the second bar of the second instance with the descending triplets.
Finzi chooses concert d minor, which sits nicely on the clarinet. Clarinet can hit the tonic in the altissimo, clarion, and chalumeau registers, and the simple key signature lends itself to more difficult passages and for them to be in tune. The joining of strings and clarinet allows the sound to blend easily without undue effort from the soloist, since the feature here quickly becomes the orchestra.(15:36) Appassionata (It. "passionately", "impassioned") — if you need string only music to describe what grief feels sounds like in the most melodic way possible, this is it. The motif appears in a different tonal context, but the contour is the same.
(15:56) As the tempo rapidly grinds to the starting tempo, the unofficial recapitulation begins with the same string material seen at 11:28. See the first (left) and second (right) instances.
Rather than being split between second violins, violas, and cellos (upper splits of each), Finzi reorchestrates the melodic part into the violins only sul G (on the G string, which has the richest tone of the four strings of the violin), brightening the sound considerably (you can hear that it is grittier the second time around, paired with the more extreme dynamics).(16:20) Clarinet entrance of the recapitulation. Compare the two instances. The clarinet has an extra arpeggiated flourish to change keys.
(17:04) Return of signature melody of second movement in F# major.
(17:25) The subsequent clarinet entrance is a doleful calling out, using the Neapolitan sixth (concert A major in g# minor) to darken the tone again with the clarinet in the chalumeau register at the N6.
(17:46) A four-times repeating chord change, g#—A (i—N6), with a suspension of D# over the fifth of N6 (D#-E) gives me chills (lots of moments in this movement give me chills). The second time it occurs, it's actually g#—A7 (i—N7; uncommon notation), which produces the D#-E dissonance as well as the added dissonance of the dominant seventh (G♮-A♮).
(18:18) Clarinet enters with a melody previously heard at 13:31.
(18:43) Final statement of the signature melody leads to...
(18:54) A series of chord changes similar to that of 17:46 with f—G♭ major alternating (i—N6), also with f—G♭7 (i—N7) as the first iteration instead of the second.
(19:07) Final statement leads to a pastoral ending to the second movement.
I hope you enjoyed listening to this heavenly second movement! Leave your comments below, share this post, and look out for a post on the finale soon!
All score excerpts taken from the Hawkes & Son (1953) edition (London) via IMSLP.org.
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