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described the piece as "full to bursting with antiphony and visual spectacle" and specifically lauded the third movement, saying it "has a poise and sense of shape that fairly take the breath away." The music critic Peter
Dickinson said it "impressed a wide audience" and similarly wrote of the final
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Corigliano later recalled, "When I showed
Stanley the first movement of the concerto, it was the only time I've ever seen him in his life look terrified. But I showed him his part, and his eyes got very big. And he said, 'How am I gonna play this?' And then he started playing it and, of course, in no
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My associations as a child – attending rehearsals and performances with my father, who was then the concertmaster of the
Philharmonic – gave me the opportunity of getting to know many of the men in the orchestra both as artists and friends. This feeling of intimacy governed my decision to make sure
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of the New York
Philharmonic who died in 1975. The third movement "Antiphonal Toccata" was composed as Corigliano's "solution to the balance problems created by using the full orchestra in a wind concerto;" this movement features a number of antiphonal performers and quotes the Italian composer
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that my first work for the
Philharmonic utilized the entire orchestra. I was aware that, with a wind concerto, this is a potentially dangerous thing to do – to solve problems of balance most such pieces are discreetly scored for small ensembles – but it provided me with a fascinating challenge.
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My regard for the musicians of the
Philharmonic also shaped their role in the accompaniment to this Concerto. In the concerto, each player has a chance to display solo virtuosity; often the work approaches being a concerto for orchestra in its demands. The soloist, Stanley Drucker, was first
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clarinetist of the
Philharmonic in my youth. Knowing his special gifts enabled me to write music of unprecedented difficulty for the solo instrument, and gave me the idea that generates the first movement; the opening cadenza.
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movement, "The finale ('Antiphonal
Toccata') is consistently energetic, with a spectacular passage for timpani and a spacious chorale that unifies the movement."
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time at all, he found that he could not only play it, but that it sounded like a million dollars when he did."
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Corigliano described the inspiration for the
Clarinet Concerto in the score program notes, writing:
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John
Corigliano: Concerto For Clarinet & Orchestra / Samuel Barber: Third Essay For Orchestra
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called the clarinet concerto "a fiendishly difficult work." A. Ashby of
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The piece has a duration of roughly 30 minutes and is composed in three
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The work is scored for solo clarinet and an orchestra comprising three
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287:"An interview with composer John Corigliano (part two)"
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separated by an interlude, subtitled "Ignis fatuus" ("
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318:"N.Y. Philharmonic Bids Farewell To Clarinetist"
697:Music commissioned by the New York Philharmonic
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24:in three movements by the American composer
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30:New York Philharmonic
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118:Sonata pian' e forte
115:'s 1597 composition
32:for the clarinetist
621:The Mannheim Rocket
692:Clarinet concertos
647:Corigliano Quartet
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564:Other compositions
536:Pied Piper Fantasy
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266:on May 8, 2010
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44:Composition
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588:Revolution
481:Symphonies
398:Gramophone
370:Gramophone
229:Retrieved
196:References
176:Gramophone
49:Background
552:Triathlon
510:Concertos
165:Reception
82:movements
76:Structure
663:Category
604:Vocalise
544:Conjurer
404:July 30,
376:July 29,
327:July 29,
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270:July 29,
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184:See also
100:cadenzas
88:Cadenzas
640:Related
159:strings
151:timpani
135:piccolo
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131:flutes
572:Elegy
462:Opera
264:(PDF)
253:(PDF)
91:Elegy
20:is a
406:2015
378:2015
350:help
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300:2015
272:2015
233:2015
155:harp
16:The
322:NPR
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