The Virtuosos: Beethoven, Weber & David Singer

Symphony No. 7 in A major, Op. 92
by Ludwig van Beethoven

I. Poco Sostenuto-Vivace
II. Allegretto
III. Presto, assai meno presto
IV. Allegro con brio　

  • Ludwig van Beethoven's Seventh Symphony was composed during 1811-1812, and given its first performance on December 8, 1813, in Vienna, with Beethoven himself conducting. Hailed as one of the pinnacles of symphonic literature, it is a work of both vibrant energy and profound depth. Composed during Beethoven’s so-called "middle period," the symphony is emblematic of his innovative spirit, transforming Classical structures with Romantic expressiveness. Notably, Richard Wagner eloquently referred to this piece as the "apotheosis of the dance" due to its rhythmic vivacity. The symphony unfurls with a wide-ranging and expansive introduction. The Poco Sostenuto functions as a grand curtain raiser, meticulously setting the stage for the dynamic life that follows. The Vivace section that emerges is rhythmically driven, presenting a dance-like theme that is both relentless and invigorating. The interplay between various instruments and the exact orchestration showcases Beethoven’s craftsmanship. Arguably one of Beethoven's most recognizable movements, the symphony’s second movement Allegretto is a study in contrasts. Its haunting theme is reflective, almost funereal, and holds an elegiac quality. The movement’s structure is reminiscent of a theme with variations, as Beethoven introduces modifications and orchestrations that continually cast the main theme in different emotional lights. It’s no surprise that audiences of Beethoven's time were so entranced by it that they requested an immediate encore during its premiere. The third movement is buoyant and light on its feet. The Presto conjures images of countryside celebrations and folk merriment. In stark contrast, the Assai meno presto sections bring a touch of lyricism and provide a momentary respite before returning to the festivity. It's a movement that showcases Beethoven's ability to capture the gamut of human emotions. In the finale, Beethoven unleashes a torrent of musical energy. The recurring rhythmic motif serves as the backbone of this movement. His intricate use of counterpoint, dynamic contrasts, and orchestral color makes this conclusion a breathtaking experience. The symphony ends with a sense of euphoric triumph. Beyond its musical genius, the Seventh Symphony stands as a testament to Beethoven's personal resilience. By this period, Beethoven was grappling with profound deafness. Yet, in the face of personal adversity, he composed a work bursting with life and optimism. The symphony was premiered at a fundraising concert for soldiers wounded at the Battle of Hanau. This context added to the piece’s celebratory and triumphant spirit, marking a victory not only on the battlefield but also in the realm of art. Beethoven's Symphony No. 7 is more than just a musical composition; it’s a journey through a spectrum of emotions, from jubilation to introspection. As listeners, we are invited to partake in this journey, reminding us of the transformative power of music. Whether one approaches this symphony as a seasoned connoisseur or a fresh listener, its boundless energy and profound depth offer a rewarding experience that resonates through time.

    © Jonathan Morgan

Serenade for String Orchestra in E minor, Op. 20
by Edward Elgar

I. Allegro Piacevole
II. Larghetto
III. Allegretto

  • Composed in 1892 and given its first performance in 1896 in Antwerp, Belgium, Edward Elgar's Serenade for String Orchestra in E minor, Op. 20 stands as one of the most cherished pieces within the English string repertoire. Composed during Elgar's early period, before his more famous works like the "Enigma Variations" or the "Pomp and Circumstance Marches," this Serenade is a testament to his innate lyrical gift and affinity for string instruments. It is both intimate and warm, capturing the pastoral beauty often associated with English music. The opening movement is characterized by its graceful charm. Elgar's intertwining lines and the gentle ebb and flow of dynamics set a mood of romantic tenderness. There's a continuous sense of dialogue between the upper and lower strings, with each part offering its unique voice to the conversation. The heart of the Serenade lies in its second movement where the Larghetto is deeply expressive, almost hymn-like in its profound serenity. The themes evolve in a rhapsodic manner, reminiscent of a gentle wander through the English countryside. This movement highlights Elgar's capacity for evoking profound emotion through simplicity and restraint. In the final movement, Elgar returns to a more playful mood with the Allegretto, offering a sprightly dance, reminiscent of a folk tune. The buoyant rhythms and lively interchange between the instruments bring the Serenade to a delightful and optimistic close. Elgar's Serenade is believed to be a reworking of a suite he wrote some years earlier, making it one of his earliest compositions to survive in the repertoire. Although Elgar himself described the piece as “a little thing,” it remains a favorite among string ensembles, embodying a sense of nostalgia and capturing the essence of late 19th-century English romanticism. The premiere in Antwerp might seem unusual for such a quintessentially English piece, but it stands as a testament to Elgar's growing international reputation at the time.

    © Jonathan Morgan

Clarinet Concerto No. 1 in F minor,  Op. 73
by Carl Maria von Weber

I. Allegro
II. Adagio ma non troppo
III. Rondo, Allegretto

David Singer, clarinet 

  • Composed in 1811 and given its first performance that same year in Munich, Carl Maria von Weber's Clarinet Concerto No. 1 in F minor, Op. 73 is one of the cornerstones of the clarinet repertoire. Written during a time when the clarinet was still establishing its place as a solo instrument, Weber's contribution significantly elevated the instrument’s status. The concerto exemplifies Weber's flair for dramatic orchestration and showcases the versatility and expressive capabilities of the clarinet. The concerto opens with a dramatic and somber orchestral introduction in F minor, setting a stage of gravitas. When the clarinet enters, its first theme is both lyrical and virtuosic, demonstrating the instrument's broad range and capabilities. The movement is full of contrasts, with moments of operatic lyricism intertwined with dazzling virtuosity. A serene and song-like second movement, the Adagio is deeply expressive and showcases the clarinet's warm, mellifluous tone. The orchestration is more restrained here, allowing the clarinet to weave a poignant musical narrative that feels almost like a heartfelt aria from an opera. The final movement is playful and spirited, contrasting with the previous movements' introspection and drama. A recurring, dance-like theme gives the Rondo its character, with the clarinet indulging in joyous displays of agility and technical prowess. The interplay between the orchestra and soloist is lively and energetic, leading to a triumphant conclusion. Weber's contributions to the clarinet repertoire were influenced by his friendship with the eminent clarinetist Heinrich Baermann. Recognizing Baermann's virtuosity and the clarinet's unique timbral qualities, Weber wrote pieces that highlighted the instrument's expressive capabilities. This concerto, along with his other works for clarinet, played a pivotal role in securing the clarinet's position in the Romantic solo repertoire. The premiere in Munich was well-received, marking the beginning of Weber's ascension as a leading composer in the early Romantic era. His works, especially for the clarinet, remain influential, both for their musical content and for the advancements they brought to instrumental technique. The Clarinet Concerto No. 1 is a masterclass in the union of instrumental virtuosity and profound musical expression. It serves not only as a testament to Weber's compositional prowess but also to the emerging capabilities of the clarinet as a solo instrument during the Romantic era. Whether you are familiar with the work or are being introduced to it for the first time, its charm, depth, and brilliance are sure to captivate.

    © Jonathan Morgan

Meet our soloist David Singer

The New York Times wrote about clarinetist David Singer, “…an exceptionally gifted clarinetist…to describe his playing would be to enumerate a catalogue of virtues.” His reputation as one of the most highly respected clarinetists in the U.S. has been established through performances and recordings on Deutsche Grammophon as a principal clarinetist for 34 years of the Grammy Award-winning Orpheus Chamber Orchestra, two separate chamber music performances at the White House for Presidents Carter and Clinton, and participation and tours for 6 years with the world-renowned Marlboro Music Festival. In chamber music performances and/or recordings, David Singer has performed with some of the greatest musicians of our time including Yehudi Menuhin, Yo-Yo Ma, Rudolf Serkin and Herbie Hancock. He has appeared on more than 100 major recordings including two Grammy Award winners. Robert Aldridge, Grammy Award winner in 2012, wrote Concerto for Clarinet and Chamber Orchestra for Mr. Singer and performances of that work with the L.A. Chamber Orchestra resulted in rave reviews including: “teeming with energy, “rowdy, ethnic and fun” – Los Angeles Times. From England, David Singer’s recording of the Aldridge and Copland Concerti on American Classics/Naxos received rave reviews as well. Gramophone Magazine in England wrote, ”His playing is exceptional…sensitive and expressive…technically brilliant.” “Singer’s Copland performance is one of the finest accounts around.” The Max Reger Institute in Karlsruhe, Germany selected Singer’s recording with Rudolf Serkin of the Max Reger Sonata op 107 and it was reissued internationally on Pristine Classical in 2021, celebrating the 150th anniversary of the composer’s birth. “Focus On The Masters” of Ventura County awarded David Singer with a “Lifetime Achievement Award.” David Singer is proud to be a 10-year member of the Channel Islands Chamber Orchestra under Dr. KuanFen Liu. Additionally, Mr. Singer performs chamber music throughout Southern California and works with high school clarinetists at Santa Susana and Thousand Oaks High Schools. He teaches lessons from his home in Camarillo where he lives with his wife Barb, dog Rosie, and cats Manise, Boo, Calamity, Keeper, and Mouse.

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