As we have seen, the four concertos are labeling using the same
numbering. It wouldn’t make sense to have the numbers 1 and 2
ascribed to two different concertos each. My intent will be to
artificially attribute the numbering No. 3 and No. 4 in the two
concertos contained in the later collection (CZ-Pk 513, copied in 1825)
in order to avoid unpleasant misunderstandings during the reading of
this research.
The concertos were probably composed to be performed in sets of two,
as seen in the copies. For example, at the end of the last movement of
the concerto for two clarinets No. 1 in B-flat Major, the copyist wrote,
“No. 2 Tace” (Fig. 7) in the second clarinet part. This would only make
sense if these were performed in a set, as the concerto No. 2 is scored
for solo clarinet. The same happens for the flutes and the bassoons that
they are scored just in Concerto No. 1
(Fig. 8 - 9).
The labeling of Antonio Casimir Cartellieri’s solo works for clarinet are not
very clear. However, this is not the same for his quartets. The numberings are
seen clearly in Fig.1-2 in the top right corner of the title pages.
The first quartet in D major and the second in Eb major are collected in the
library of The Prague Conservatory with shelf number “CZ-Pk 3 C 71”, the
third quartet in Bb major and fourth in Eb major are marked with shelf
number “CZ-Pk 3 C 72”. The dating of the quartet is almost impossible to
define, but we can assume that they were copied between 1800-1824 by the
copyists Kmoch and Gross, since they were active in Prague and for their
signs in two of the four quartets.
The German clarinetist Dieter Klocker is, so far, the only one who has
recorded Cartellieri’s clarinet concertos4. Klocker made his own
numbering system for his CD’s. Only three of the four concertos are
complete (all movements) in CD’s and he claims that the Concerto No
2 only has the second movement marked Adagio Pastorale. As we’ve
seen, the complete concerto does, in fact, exist in the library of the
Prague Conservatory. It is also strange that he includes the “missing”
the first movement of the second concerto in his second CD released in
1999 making it seem as though it was a complete work in and of itself.
Moreover, comparing his recordings with the copies of the concertos
available in the library, it seems that he modified the compositions by
adding cadenzas and changing notes or adding completely new
things as we can listen in few examples collected in the following videos.
There is no real proof that the concertos were in fact performed in a set
of two. We know that the concerto for two clarinets was performed the
10th of April 1797 by Anton and Paul Stadler3, but we don’t
know if one of the Stadler brothers also performed the Concerto No. 2.
It is interesting to note that two of Cartellieri’s Symphonies were also
collected in a set, however, we know that the Symphony No. 1 in C
Major was performed on the 29th of March 1795 and the Symphony
No. 2 in Eb was performed the following day. It is possible that the
same holds true for the concertos, as it is a lot of work for one
clarinettist to perform two concertos in one evening due to the
virtuosity and lengths of these works.
This is seen again on the first page of the first Flute and Bassoon parts
of the Concerto No. 4 in B-flat Major (Fig. 10-11). Since they are both
marked “No. 1 Tacet” then this piece must have followed the
Concerto No. 3 in E-flat on the program, as there are no flutes and
bassoons in the scoring.
The four clarinet concertos are also collected on the shelves of the library of
the Prague Conservatory. The numbering of these works is not as clear as in
the quartets.
The concerto for two clarinets No. 1 in B-flat Major and the concerto for
clarinet No. 2 in B-flat major are collected with shelf number “CZ-Pk 512”
and in the front page is written: “Duplicate of the principal part of the 4th
collection, containing concert” (Duplicat der Principalstimme von IVten
Band, concerten enthaltend - Fig. 3). This collection was copied after the
death of the composer by the Czech copyist A. I. Mertlick, 4 Juni 1821
(Fig. 4).
The other two concertos are again numbered No. 1 in E-flat Major and
No.2 in B-flat Major and they are collected in the “Duplicate of the
principal parts of the 5th collection, containing concert” (Dupplicat der
Principalstimme von Vten Band, concerten enthaltend – Fig. 5) with
shelf number CZ-Pk 513. They were copied four years after the first two
by the copyist Deutscher Johann, 12 July 1825 (Fig. 6).
Video 1 - Casimir Anton Cartellieri, Concertos for clarinet and orchestra, Dieter Klocker clarinet, Prague Chamber Orchestra. Track 4, Adagio Pastorale. April 1995, MDG 301 0527-2.
Video 3 - Casimir Anton Cartellieri, Concertos for clarinet and orchestra, Dieter Klocker Clarinet, Prague Chamber Orchestra. Track 1, Adagio Maestoso/allegro. April 1995, MDG 301 0527-2.
Video 2 - Casimir Anton Cartellieri, Concertos for clarinet and orchestra, Dieter Klocker Clarinet, Prague Chamber Orchestra. Track 7, Rondo. April 1995, MDG 301 0527-2.
Fig. 9 – A.C. Cartellieri Concerto for two clarinet No.1 in B-flat Major, III mov, 1st Bassoon (CZ-Pk 512).
Fig. 5 - Front page of the Collection of principal part No. 5, in which are contained two clarinet concertos by A.C. Cartellieri (CZ-Pk 513).
Fig. 8 – A.C. Cartellieri Concerto for two clarinet No 1 in B-flat Major, III mov, 1st Flute (CZ-Pk 512).
Fig. 6 - Last page of the solo Clarinet part: “Deutscher Johann geschrieben den 12 July 1825” (Deutscher Johann wrote in 12 July 1825) (CZ-Pk 513).
Fig. 4 - Last page of the Violin parts.“A: I: Mertlick. Scriveva. 4 Juni 1821” (A: I: Mertlick. wrote. 4 Juni 1821). (CZ-Pk 512).
Fig. 7 – A.C. Cartellieri Concerto for two clarinet No 1 in B-flat major, III mov, 2nd Clarinet (CZ-Pk 512).
