Copland explained his choice of instrumentation this way: “The instrumentation being clarinet with strings, harp, and piano, I did not have a large battery of percussion to achieve jazzy effects, so I used slapping basses and whacking harp sounds to simulate them.” The Clarinet Concerto ends with a fairly elaborate coda that finishes with a clarinet glissando—or “smear” in jazz lingo. Inspired by Goodman’s unique background of playing both classical and swing music, as well as Copland’s own travels to Brazil (Copland spent 1947 in Rio de Janeiro as a lecturer, when he was starting to work on the Clarinet Concerto), the composer manages to incorporate a Brazilian popular tune into the movement’s texture. The second movement is clearly influenced by jazz and Latin American music. Copland clarinet concerto pdf.

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