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In the late 18th century, after a long way of development, the clarinet gains a special position among wind instruments. That was the time when virtuosi of the clarinet emerged who improved not only the performance technique but its design as well. Wolfgang Amadeus Mozart and Ludwig van Beethoven played an important part in establishing the clarinet as a full-fledged instrument and in expanding its repertoire.
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The onset of the romanticism era in music was signified with not just changes in the music style but also new technical capabilities of the musical instruments, including the clarinet. The composers of the time took notice of the improved instrument and created a number of works which still constitute a part of the contemporary clarinetists' repertoire. The timbre of the clarinet has become a distinctive symbol of romanticism.
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The works by <b>Carl Maria von Weber</b> (1786–1826) are an integral part of the clarinet repertoire. Concertness, emotional elation, spectacular contrast and splendor of sound colours, all able to evoke an instantaneous response of a wide audience, are very typical for the German composer's instrumental music. Weber discovered virtuosic capabilities of the clarinet and created a number of compositions for it. He used the clarinet for the first time as a solo instrument in 1811 in Munich after he got acquainted with the clarinetist of the Bavarian court orchestra. A little later the composer wrote two Grand concertos for clarinet and <b>Grand duo concertant in E flat major, Op. 48</b>.
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The 1840's were the beginning of <b>Robert Schumann</b>'s (1810–1856) mature period. Among the compositions of those years are monumental scores, contrapuntal style works influenced by J.S. Bach and numerous chamber and instrumental compositions. <b>The Fantasy Pieces for clarinet and piano, Op. 73</b>, deserve special mentioning.
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In the 20th century, the clarinet remained in great demand. Its ability to express very diverse moods and feelings, its technical mobility still attracted composers of different styles and schools.
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<b>Alban Berg</b> (1885–1935), an Austrian composer, one of the three representatives of the Second Viennese School and a bright exponent of Austrian-German musical expressionism and European avant-garde, was no exception. Berg created a comparatively small number of compositions, but they were vivid examples of music history of the first half of the 20th century, which had an active impact on composers of the next generations. Although Berg was a promoter of the ideas of his teacher Arnold Schoenberg, he did not become his absolute follower. Without deserting the images of late romanticism, the composer managed to preserve his individual style with characteristic emotionality of musical expression. <b>Four Pieces for Clarinet and Piano, Op. 5</b> (1913) belong to the composer's early works written in dodecaphonic technique. Expressivity of musical images and high emotional excitement of the intonations in this piece are achieved through special methods and techniques.
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<b>Anatoly Kamyshev</b> (clarinet) is a prize winner of the All-Union Competition, Honoured Artist of the Russian Federation and soloist of the Academic Symphony Orchestra conducted by Pavel Kogan. In 1971, Kamyshev finished the Ippolitov-Ivanov Music College where he studied under G. Gusev, and five years later he graduated from the Moscow Conservatory where he studied under professor V. Petrov. He was a soloist of the Moscow Symphony Orchestra, Moscow Radio Symphony Orchestra and USSR Ministry of Culture Symphony Orchestra. Now he teaches at the Ippolitov-Ivanov Institute.
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Mstislav Rostropovich said, <i>“</i><b><i>Ivan Monighetti</i></b><i> is one of my most loved pupils. He began to seek his approach to interpretation of works as early as when he was a student. His performance of compositions from Bach to ultramodern composers has always struck me with the depth of his knowledge of style and form.”</i> After Monighetti won at the Tchaikovsky International Competition, he had to go through hard years when he was not allowed to go abroad. He began a successful touring career in Europe, America and Japan in the late 1980's. The cellist has collaborated with the Berlin Philharmoniker, orchestras of the Gewandhaus and St. Petersburg Philharmonic Society; conductors Kurt Masur, Gennady Rozhdestvensky and Mstislav Rostropovich. Martha Argerich, Mikhail Pletnyov, Alexey Lyubimov, Liana Isakadze, Anner Bylsma, Alexander Rudin, Anatoly Kamyshev and Andrey Gavrilov were his partners in chamber ensembles.
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<b>Andrey Gavrilov</b> is a pianist and conductor who obtained world recognition in the 1970's after he won the first prize at the Tchaikovsky International Competition. Afterwards, he enjoyed an active concert career performing with some of the best known orchestras of the world. The pianist's repertoire is amazingly rich – from Bach and Scarlatti to Alban Berg and Alfred Schnittke. He has resided abroad since the 1980's. After a long intermission, he resumed his performing career and toured in Russia and former Soviet republics in 2009 and 2010.
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