Colin Matthews devised Movements for a Clarinet Concerto using unfinished sketches and fragments from Benjamin Britten to complete a work Britten began commissioning in 1941. Matthews used Britten's nearly complete first movement and extracts from two other contemporaneous works to form a three-movement concerto. Though an unusual project, Matthews felt it deserved to bring Britten's planned clarinet concerto to life, resulting in a work that captures Britten's style and adds to the clarinet repertoire. The piece has received critical acclaim, including for Michael Collins' recording of it.
Colin Matthews devised Movements for a Clarinet Concerto using unfinished sketches and fragments from Benjamin Britten to complete a work Britten began commissioning in 1941. Matthews used Britten's nearly complete first movement and extracts from two other contemporaneous works to form a three-movement concerto. Though an unusual project, Matthews felt it deserved to bring Britten's planned clarinet concerto to life, resulting in a work that captures Britten's style and adds to the clarinet repertoire. The piece has received critical acclaim, including for Michael Collins' recording of it.
Colin Matthews devised Movements for a Clarinet Concerto using unfinished sketches and fragments from Benjamin Britten to complete a work Britten began commissioning in 1941. Matthews used Britten's nearly complete first movement and extracts from two other contemporaneous works to form a three-movement concerto. Though an unusual project, Matthews felt it deserved to bring Britten's planned clarinet concerto to life, resulting in a work that captures Britten's style and adds to the clarinet repertoire. The piece has received critical acclaim, including for Michael Collins' recording of it.
BRITTENS MOVEMENTS FOR A CLARINET CONCERTO (DEVISED BY COLIN MATTHEWS) by Douglas Monroe T he clarinet world owes a debt of gratitude to Benny Goodman for his wonderful contributions to our art as both a consummate swing art- ist and for the miraculous commissioning projects involving some of the great com- posers of his day. Because of this commis- sioning project, we have masterpieces like Bartks Contrasts and Coplands Con- certo. But few know that Goodman also commissioned Benjamin Britten to write a concerto in 1941, shortly before the Unit- ed States entered World War II. Tragically, U.S. customs authorities confscated all of the music Britten was carrying with him on his way back to the United Kingdom in 1942. It seems that the U.S. was fearful that the music might contain some sort of hidden code posing a threat to the security of the nation. In- cluded in these manuscripts was a nearly complete frst movement of Britten`s in- tended clarinet concerto. Unfortunately, by the time the U.S. returned the music to Britten a year later, he and Goodman had moved on to other projects. Britten never worked on the piece again. Fortunately for clarinetists, the award- winning composer and Britten scholar Co- lin Matthews recognized a need to com- plete the work. The frst movement exists largely as Britten wrote it. Matthews used two other works that Britten wrote during the same period to round out the already completed frst movement. Matthews` aim was to devise a concerto that stands in for what Britten hoped to write, and which both flls a gap in his output and enriches the clarinets repertoire. What we have today, thanks to Colin Matthews efforts, is a deep, evocative, and sometimes playful masterpiecea work known as Movements for a Clarinet Concerto by Benjamin Britten (devised by Colin Matthews). The great English clarinetist Michael Collins has already recorded the piece and has gained criti- cal acclaim for a beautiful interpretation. Recently, I was fortunate to have been given the opportunity to give the North American premiere in Grand Forks, ND with the Greater Grand Forks Symphony Orchestra.with the American conductor Alexander Platt, who is also a recognized Britten scholar. Dr. Matthews was gracious enough to allow for this interview about the work: DM: What was your relationship to Benjamin Britten and how did you come to be involved with the Britten- Pears Foundation? CM: I worked as Brittens editor from the early 1970s, most notably making the vocal score of Death in Venice. After his unsuccessful heart operation in 1973 I acted as an assistant, helping to prepare scores, and in the case of his very last works, orchestrating them under his su- pervision. It was a natural progression to be part of the Britten-Pears Founda- tion, which looks after the heritage of both Britten and Peter Pears, from its inception in 1986. DM: When did you hrst come into con- tact with Brittens clarinet concerto material and what convinced you to devise the Movements for a Clari- net Concerto? CM: I spent a lot of time in the 1980s researching Brittens unpublished and unfnished manuscripts. I can`t remem- ber when I frst saw the sketches for the frst movement, but I edited and orches- trated them in 1989 for a fund-raising concert for the Aldeburgh Festival: the young Michael Collins was the soloist. It was clear to me that the movement demanded a continuationnot least because its hardly viable as a concert item in its own rightbut initially I couldn`t see any way to expand it other than by composing new material. DM: Though the hrst movement is the only one Britten wrote specihcally for a clarinet concerto, the entire piece is music by Britten. How did you arrive at choosing pieces to use as the foundations for the second and third movements? CM: There are only very vestigial sketches for anything other than the frst move- ment, so theres no possibility of recon- structing the work in any conventional sense. It wasnt until 2005 when I was devising a Britten recording of mainly unknown works that I thought again about a continuation. I had for some time considered the possibility of using the Mazurka Elegiaca for two pianos, composed in the summer of 1941, for a slow movement: its lyricism offered many opportunities for extracting a solo clarinet line. But its companion piece, the Introduction and Rondo alla Burlesca, did not seem appropriate for a fnale, and I returned to the idea of at- tempting to write one from scratch. However I d overlooked the possibility of using instead a substantial orchestral sketch, whose frst workings were writ- ten on the same manuscript paper as the Clarinet Concerto, and are proba- bly contemporary with it. Although its not entirely certain what this work is, its most likely to be the Sonata for Or- chestra, which Britten frst mentioned in the spring of 1942, and was still talk- ing about to his publisher a year later as a possible work for the 1944 Lon- don Proms. A neat copy (though not a fair copy) laid out for piano duet (like several sketches of the time) runs to fve and a half pages and just over 100 bars. DM: What other issues did you need to consider in devising the work? CM: Clearly I had to fnd a way to ex- tend this substantial fragment, but it involved very little actual composition, and I brought back material from the frst movement as a coda to the fnale. I would estimate that the music of this movement is 95% Britten : the other two movements, orchestration apart, are virtually 100% Britten. But of course the major issue for me was to devise a clarinet part for two out of the three movements, using music that was never intended to have a solo line. DM: I cant imagine the work involved in such a process. One might also feel the stress of advocating for Britten as the project progressed. Is there anything you might want to share about the emotional side of prepar- ing such a piece? CM: Of course it`s very diffcult to know if Britten would have approved of such a projectprobably not!but I felt that this planned concerto really did deserve to be brought back to life, and could be a worthy addition to the rather small list of 20th-century clarinet con- certos. That was what encouraged me to undertake such a venture, which on the face of it is an impracticable one. I am very glad that I took the plunge. DM: One can certainly hear the rela- tionship tonally to the music of Peter Grimes, especially in the harmonies of the hrst movement. Were the two works conceived during the same pe- riod of Brittens life? Are these simi- larities signihcant? CM: There is one particular link, the gamelan-like deep triads which also feature in the Morning interlude from Grimes. Britten frst became aware of gamelan music through meeting Co- lin McPhee in 1940. Although Britten didnt start the composition of Grimes until the beginning of 1944, the opera was already in his mind in 1941. DM: Michael Collins spectacular re- cording of the piece has won vari- ous awards including Gramophone Magazines Disc of the Month during 2009. Its a beautiful perfor- mance and represents the piece very well. [For those interested, the CD is called Unknown Britten and was released by the NMC label.] Where was the work premiered and how was it received? CM: The recording was taken from the rehearsals and the frst performance, at The Sage, Gateshead (near Newcastle) in May 2008. I was a little disappointed that the frst performance-unlike the recordingdid not attract a great deal of attention at the time, perhaps due to the hybrid nature of the work, which I suppose does need some explanation. But its now beginning to be played more, and I was delighted when you and Alexander Platt took up the challenge! DM: We owe you the same debt of grat- itude we owe Benny Goodman for this work. Thank you so much for allowing Alexander Platt and me the opportunity to premiere the piece in North America! What a great thrill for us here. Congratulations on a re- markable piece of music. Thank you also on behalf of the clarinetists in the world! It is a fabulous addition to the clarinets repertoire. Your work on this piece is superb craftsman- ship. You capture such a wide spec- trum of colors and emotions so well- suited for the clarinet. What other works do you have in your composi- tional output for the clarinet that we should look out for? CM: Thank you for such kind words! There is a chance that at some point I might write a concerto myself, al- though it wont be in the near future, and that would certainly plug a gap in my work list asmuch as I love the clarinet (and bass clarinet)I have written very little for it as a solo instru- ment. The only substantial work is a set of Three Studies, derived for a work for cello and piano, which is technically quite demandingit asks the player to switch from B-fat clarinet to E -fat and then to bass. Im a great fan of the contrabass clarinet too, so perhaps I should add a fourth study! About the writer Douglas Monroe, assistant professor of clarinet at North Dakota State Univer- sity, has enjoyed an eclectic career as clar- inetist and conductor. His performances have taken him to 47 states, Canada, and nine European countries, where he has performed at venues such as Carnegie Hall and Royal Albert Hall. In 1987, he was appointed principal clarinetist of the Arizona Opera. Follow- ing his tenure there, Monroe spent three years with the United States Army Field Band in Washington, D.C. While there, he was a frequent featured soloist, including concerto performances at the Interlochen Center for the Arts, the Chatauqua Insti- tute, Music Hall in Cincinnati and Meyer- hoff Symphony Hall. Monroe performs with Trio lan, the Red River Winds, and the Fargo-Moor- head Symphony and Opera. During the summers, Monroe is a clarinet instructor at Interlochen Arts Camp.
photo captions: 1. Benjamin Britten 2. Colin Matthews