Hommage à M. De Falla is an exciting, visceral piece that was composed in the style of a traditional Spanish dance known as flamenco. Manuel De Falla (1876-1946) was arguably the most famous composer in Spanish history and lived in Madrid, Paris, and finally Argentina after the Spanish civil war in 1939. This work is especially well-written for unaccompanied clarinet because Kovács made the clarinet sound like several different instruments, often at the same time. For example, in the beginning, the clarinet sounds like trumpets playing a fanfare or horns at the start of a hunt. During the fast section, the clarinet sounds much like Spanish guitar strumming major and minor chords and finger picking between two strings.[youtube http://www.youtube.com/watch?v=W98NprBB2vs] [youtube http://www.youtube.com/watch?v=r61SrjHG4J0]
An hommage is a piece of music written to pay tribute to something or someone. In this case, the tribute is being paid by Hungarian clarinet professor Béla Kovács to French composer Claude Debussy. Béla Kovács (b. 1937) is Professor of Clarinet at the Franz Liszt Academy of Music and performs in orchestras in Budapest, Hungary. Here is what Professor Kovacs had to say about these pieces:
My pedagogical activities inspired me to compose the Hommages. The pieces were intended to be etudes or studies which students may use as supplementary material to the usual dry and mechanical – although indispensable – exercises. They contain various challenges. If performed with impressive dexterity, proper tone production and sufficient knowledge of styles, coupled with a sense of humor and a certain amount of fantasy, they could, hopefully, find success even on the concert stage. I recommend the Hommages to all my former, present, and future students, and also to those, who, recognizing their value, may wish to devote more concentrated attention to them.
Béla Kovács is an excellent replicator of various composers’ styles, such as that of Claude Debussy (1862-1918). The bulk of Debussy’s works fall under the category of French Impressionism, which was a movement in the late nineteenth century and early twentieth century that departed from the more obvious, overt style of Romanticism. Impressionist music is much like impressionist art: it depicts the figurative meaning of a person, object, or scene rather than the literal portrait. The emotions are more subtle and covert. Also, the melodies are more difficult to identify because they weave together an atmosphere rather than a song or dance. Kovács directly quotes at least two of Debussy’s works in this piece for unaccompanied clarinet including his Premiere Rhapsody and Prelude to the Afternoon of a Faun, which is perhaps Debussy’s most famous work.
If you’ve been wondering why I haven’t written in a couple months, here’s why! I gave a solo clarinet recital and played introduction videos to each piece I performed. I’ll explain more about my vision behind this kind of performance later. Enjoy!
Here are the program notes I wrote for this piece:
Introduction, Theme & Variations by Gioachino Rossini
Have you heard the theme from the 1960s television series Bonanza? What about the famous tenor, Pavarotti, singing “Figaro, Figaro, Figaro?” Those famous tunes come from Gioachino Rossini’s (1792- 1868) operas, William Tell and The Barber of Seville. When most people think of Italian Classical music, they think of Rossini. His style is graceful yet dramatic, comical yet powerful. It is generally believed that Rossini composed Introduction, Theme & Variations as a student project at the Bologna Conservatory of Music when he was very young. Indeed, theme and variations is a great form to practice for composers because it helps them think creatively about a melody and how it can morph to take on different shapes, characters and emotions. In this piece you will hear a broad, sweet-sounding introduction, a playful theme, five variations on the original theme that become more and more exciting, showing off the full range and velocity of the clarinet, including a slow, semi-serious variation in a minor key, and a dramatic cadenza.