Exploring Sutermeister’s Captivating Capriccio for Solo Clarinet
- Gabriel Blasberg
- Sep 30, 2022
- 3 min read
Updated: Nov 11
VIDEO
Introduction
In mid‑2020, I felt inspired to revisit this excellent piece that I had studied decades earlier as a student at the National Conservatory in Buenos Aires with my teacher, the remarkable clarinetist Mariano Frogioni. Frogioni was deeply interested in exploring lesser-known works of the repertoire, and it was in this context that he recommended the Capriccio by Heinrich Sutermeister, the Swiss composer (1910–1995). Composed in 1946, this work is a pleasure to play and to listen to, yet it presents considerable interpretive challenges. You can also watch my full performance of the piece in the video published above, recorded on June 11, 2020.
Interpretation and Technical Challenges of Sutermeister Capriccio for Solo Clarinet
This work tests the clarinetist’s ability to combine technical precision with expressive phrasing. The energetic staccato passages demand clarity and agility, while the flowing cantabile sections require careful phrasing, control of tone, and consistent tuning throughout. Maintaining good intonation is essential, even though this is a solo piece. Some might assume that without accompaniment, tuning is less critical, but careful intonation is just as important to convey the musical ideas effectively. Dynamic shifts and sudden tempo changes keep both performer and listener engaged throughout.
Performing Sutermeister Capriccio for Solo Clarinet also requires significant physical stamina, demanding careful breath control and precise embouchure management. In my own recording, I played the piece entirely from memory—a practice I enjoy, which adds an extra layer of challenge and engagement. These aspects make the work not only musically captivating but also physically rewarding for the clarinetist.
Playing the Capriccio reveals the clarinet’s versatile voice—from playful and mischievous to warm and expressive. For the listener, the work’s whimsical character and contrasting moods make it a delightful and memorable experience.
To complement my own observations, here is a brief analysis of the work by Karem Joseph Simon, written in 1985 for his thesis at the University of British Columbia:
"Sutermeister’s Capriccio for Solo Clarinet (1946) was commissioned as a competition piece for the Genoa Conservatory. The work is ideal for competitions, presenting two contrasting ideas throughout: one sharp and incisive with staccato articulation, the other fluent and quiet with legato passages. Both are introduced in the opening phrase.
The first theme is developed in both the opening and closing sections, while the second theme appears in the middle section, giving the work a ternary (ABA') structure.
The “rough” theme is energetic and lively, featuring agile staccato passages and ornamented fast runs. In contrast, the second theme is elegant and lyrical, with a cantabile style, wide intervallic leaps, and gentle nuances.
The piece contains numerous sudden changes in dynamics, meter, and character, indicated by markings such as legatissimo, spirito, grazioso, giocoso, eleganza, ruvido, and amabile, all of which contribute to its whimsical character.
One critic has noted that the Capriccio reflects the influence of Sutermeister’s cinematic work: the playful material could be imagined as an impatient young boy, while the calmer passages suggest a gentle, caring mother. The whimsical temperament of the piece recalls the character of the clarinet in Peter and the Wolf (Prokofiev) and The Antics of Till Eulenspiegel (R. Strauss).
In the coda (meno mosso), the young boy briefly shows seriousness and determination as the theme is slowed and divided, but the piece ultimately returns to the playful, whimsical character with which it began."
About the Composer: Heinrich Sutermeister
Heinrich Sutermeister (1910–1995) was a Swiss composer born in Feuerthalen, in the canton of Schaffhausen. He studied both music and philology in Basel before continuing his musical training at the Akademie der Tonkünste in Munich, where he was a student of prominent teachers including Carl Orff.
Sutermeister developed a predominantly neoclassical style, favoring clarity, expressiveness, and accessibility, in contrast with the more avant-garde trends of mid‑20th-century music. He composed operas, chamber music, concert works, and music for radio and television. His opera Romeo und Julia (1940) achieved international recognition and remains one of his most celebrated works.
Later in his career, Sutermeister taught composition at the Hochschule für Musik in Hannover from 1963 to 1975. He received multiple awards in Switzerland and Germany and left a lasting legacy of compositions that continue to enrich the solo clarinet and wind repertoire. Note: Feel free to rate this article below and leave a comment if you’d like!
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