Clarinet Concerto

Isang Yun's Clarinet Concerto owes inspiration to the instrumental and musical virtuosity of the Swiss clarinettist Eduard Brunner. It appeared on his behalf parallel to Violin Concerto No.1 in 1981. The series of solo concertos which Yun opened in 1976 with the Cello Concert confronts the lyrical subject (the solo instrument) with society (the orchestra). In his music Yun repeatedly depicts the reciprocal play of the forces of Yin and Yang. Whilst the tendency of the exceedingly lyrical three-movement Violin Concerto No.1—speaking, as it appears to do, of beauty, fulfillment and exuberance—is as a whole more towards the soft, receptive Yin, the rather more rhapsodic Clarinet Concerto expresses the principle of the hard, active Yang. In keeping with the tonal qualities of the clarinet, it clearly and precisely illuminates the "main tone technique" of the composer. This proceeds on a linear basis in line with the language of Chinese and Korean courtly music. It is rather more continuous than "constructed"—flows naturally, so to speak. The solo instrument is at pains to climb higher during long periods where the main notes are sustained. According to the aesthetics of the composer melodic ascent also stands for liberation.

Although consisting externally of just one movement the clarinet concert has three sections on the whole: after a swift initial section ensues a slow middle section, and a solo cadence is incorporated into the lively final section.

The first section which consists of two parts and is clearly structured by way of orchestral interludes, ascends continuously in four phases altogether. During the first phase the clarinet "conquers" the note E³ and in the second, A Flat³. In the third phase the horns support the solo instrument in its attempt to secure A³ and in the fourth phase the clarinet reaches B Flat³ with the help of the strings and the woodwinds. The orchestral interludes, especially those on the part of the brass, not only regenerate the flow of the music but also inevitably jeopardize the balance which is sought.

The middle section, which consists of two parts, depicts mourning and lamentation. The laments of the clarinet are answered by a powerful, unified opening on the part of the brass. At this point the soloist takes the bass clarinet. There ensues a scene of nocturnal meditation.

An excited tutti and "calls" on the part of the clarinet open the third section which has the character of concerting. An interlude of "chamber music" given by the solo instrument, contrabass, timpani and a thinned-out woodwind section where a state of balance appears to be about to be achieved, is interrupted by a powerful tutti from the brass. The "chamber musicians", however, continue with their conversation which flows on into a monologue, the solo cadence of the clarinet. Once the clarinet has been able "to have its say'', the dialogue between the solo instrument and the orchestra becomes possible. The composition comes to a close with a humorous final stretta.
Walter-Wolfgang Sparrer