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Thea King, never much in the public eye, was nevertheless a connoisseur’s musician. Tempo varies too as phrases are distended or relaxed, then released into pulse. Piano Concerto No.27 in B flat, K595 We can’t really think of the ‘late’ style of a composer who died at 35. 1 With the talents of the Academy of St Martin in the Field … No chance. It’s the principle of Affekt – ‘affections’, that is, fervour, warmth, passion, joy, sadness – spoken about by the likes of Friedrich Marpurg and Johann Petri. What now? None is extant. Piano Concerto No. A true find. Building a Library on Mozart's final purely instrumental work, his Clarinet Concerto - written for his friend Anton Stadler. Meyer's interpretation of the Clarinet Concerto has ripened since this 1992 recording, and some listeners might prefer her more playful and overtly dramatic remake with Claudio Abbado and the Berlin Philharmonic. How? Gramophone is brought to you by Mark Allen Group The Flute Concerto is notable for the fact that Mozart did not like the flute as an instrument, famously stating 'whenever I have to write music for an instrument I dislike, I immediately lose interest'. Mozart: Clarinet Concerto in A major K. 622 - Clarinet Quintet in A, K 581. In 1791, the last year of his life, Mozart wrote the Clarinet Concerto. The best recordings of Mozart's Clarinet Concerto. Haven’t we experienced this approach before? Receive a weekly collection of news, features and reviews, James McCarthy To wit, the regular clarinet ends its compass on E below middle C; Stadler’s uniquely dropped four semitones further to C. On October 16, 1791, he premiered the work in Prague from the autograph manuscript, then went on tour, not returning to Vienna until July 1796. Fabio Di Càsola plays the standard edition, occasionally retouched, and Boyd champions him to the hilt. But such recreative distinction wasn’t to be expanded, let alone repeated. Nor has the conductorless Collegium Aurem. Rumblings about the true text hung around for the next 150 years or so – probably because Mozart had also showcased Stadler in a 199-bar sketch for basset-horn, K621b, that thematically anticipates the first movement of the Clarinet Concerto, and in the clarinet obbligato for the aria ‘Parto, parto’ from La clemenza di Tito which exploited the basset’s range. Now, slip back two years to 1959, to Gervase de Peyer’s second recording. Selected Discography (Date / Artists / Record company (review date)), 1940 Kell; LPO / Sargent / Testament SBT1007 (8/92), 1940 B Goodman; NYPO / Barbirolli / Dutton CDSJB1026, 1949 Wlach; VPO / Karajan / EMI 566388-2 (nla), 1950 Kell; Zimbler Sinfonietta / DG 477 5280GOM6 (3/53), 1954 Říha; Czech PO / Talich / Supraphon SU3835-2 (4/59), 1958 Brymer; RPO / Beecham / EMI 567596-2 (7/60; 10/88), 1959 de Peyer; LSO / Maag / Decca 466 247-2DF2 (9/60), 1961 Marcellus; Cleveland Orch / Szell / Sony SBK62424 (6/64), 1971 Brymer; ASMF / N Marriner / Philips 416 483-2PH (10/88), 1971 Leister; BPO / Karajan / EMI 764355-2 (6/72), 1990 Schmidl; VPO / Bernstein / DG 429 221-2GH (8/90), 2004 A Marriner; ASMF / N Marriner / Pentatone PTC5186 048, 2005 Martin; SCO / Janiczek / Linn CKD273, 2009 Di Càsola; Musikcollegium Winterthur / Boyd / Sony 88697 64672-2 (12/10), 1985 King; ECO / Tate / Hyperion CDA66199 (3/86), 1985 S Meyer; Staatskapelle Dresden / Vonk / EMI 555155-2 (3/92 – nla), 1992 Ottensamer; VPO / C Davis / Philips 438 868-2PH (6/94 – nla), 2002 Fröst; Amsterdam Sinfonietta / Oundjian / BIS BIS-SACD1263 (A/03), 1973 Deinzer; Collegium Aureum / Maier / EMI 747603-2 (12/87 – nla), 1985 Pay; AAM / Hogwood / L’Oiseau-Lyre 414 339-2OH (5/86), 1989 Lawson; Hanover Band / R Goodman / Nimbus NI7023 (7/90), 1998 W Meyer; Concentus Musicus Wien / Harnoncourt / Teldec 2564 69855-6 (3/01), 2001 Hoeprich; Orch of the 18th Century / Brüggen / Glossa GCD921107 (2/03), 2007 Coppola; Freiburg Baroque Orch / Von der Goltz / Harmonia Mundi HMC90 1980 (5/08), This article originally appeared in the February 2012 issue of Gramophone. Why not register today and enjoy the following great benefits: Necessary cookies are absolutely essential for the website to function properly. In 1973 Hans Deinzer made the first recording on a period basset copied for him in boxwood by Rudolf Tutz of Innsbruck. Or in his next letter to her on October 14, describing his delight at the success of Die Zauberflöte and only voicing some concern about finding a good school for their young son Carl. Valedictory or visionary? Gramophone is part of Stick to the traditional clarinet but not to the traditional arrangement? Now, here’s a real bargain–some of the greatest recordings of much of Mozart’s best music at the Double Decca two-for-one price. An interlude of bittersweet nostalgia, a look back with the odd angry flare; yet in the soul and sinew of Wolfgang Meyer and Nikolaus Harnoncourt a look forward too, vigorous, even manic in the extrovert optimism of the outer movements. Well, consider as an example bars 187 to 191 in the first movement. I honestly think this is my absolute FAVORITE pieces ever composed by Mozart (and yes, that includes the clarinet concerto)!! The soloist uses an 18th century clarinet which has some lower notes not found on modern clarinets and which Mozart utilized when he wrote these compositions. In sum, performance ought to reflect emotional content, so tempi cannot be rigid but must be tailored to evoke the many emotions embedded in music. Misgivings nag. Haydn Draper made the first recording in 1929 (Brunswick 20076‑8), followed by Luigi Amodio and François Etienne. The work is considered Mozart’s finest wind concerto, and I’ll take it further and declare it the best wind concerto in the entire world of classical music. Boxwood. What was the point? Author: Gary Date: 2000-12-12 15:59 I am curious as to your opinions regarding your choices for the best recording of Mozart's Clarinet Concerto. The best recordings of Mozart’s Clarinet Concerto; Twelve Poems of Emily Dickinson. You won't be disappointed with this CD, if it's still available. Here he is again, incorrigible as ever, wholeheartedly backed by consummately gifted clarinettist Wolfgang Meyer. Find recording details and track inforamtion for Clarinet Concerto in A major, K. - Wolfgang Amadeus Mozart on AllMusic Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. Note the conductor here, the third illustrious name to be mentioned; and in the first 32 years of the concerto’s recorded history, three more made their bow – Herbert von Karajan, Václav Talich and George Szell. A measure of stature is returned to the music by Ernst Ottensamer. Stale routine is eschewed; in its place, an act of adventurous analysis, artistically managed. Mozart: Clarinet Concerto. | Then I orchestrated almost the entire Rondo of the Stadler concerto.’ No premonitions of death here. With 27 to his name, it's a bit tricky to isolate one piano concerto … What Mozart probably wrote was a three-octave descent from top D to D below middle C. In the amended text, the last four notes in this passage are doubled back to end on D above middle C. In effect, three octaves become telescoped into two; and a vibrant plunge from soprano timbre to baritone (also known as the chalumeau register) is diluted. Then I orchestrated almost the entire Rondo of the Stadler concerto.’ No premonitions of death here. Yet in his letter from Vienna to Constanze in Baden, written at midnight on October 7, 1791, he says, ‘I smoked a glorious pipe of tobacco. Its absolutely gorgeous and pristine sound quality. We'll assume you're ok with this, but you can opt-out if you wish. Fabio Di Càsola; Musikkollegium Winterthur / Douglas Boyd. Valedictory or visionary? This website uses cookies to improve your experience. About Mark Allen Group Such evidence absorbed into the gathering desire for historical veracity after the Second World War saw Stadler’s prototype reproduced (to be named the ‘basset clarinet’ by Jiří Kratochvíl) and the solo part conjecturally reconstructed by Franz Giegling, both ‘enabling Mozart’s melodic contours to be realised in what approaches their original form’ (Colin Lawson). 9 in E flat Major – K. 271. You also have the option to opt-out of these cookies. Brymer’s tribute to his colleague says it all: ‘His freedom of expression, perfect intonation and control, easy rubato and use of a vocalised vibrato much in the [Leon] Goossens manner, marked him out as something new in the instrumental world.’ Vibrato in a woodwind instrument was indeed new to many in the first half of the 20th century; and these two musicians split opinion at the time. Coppola doesn’t probe the spirit, coasting through the first and last movements; and though soulful in the Adagio, his pacing is inert, clogging flow. MA Music, Leisure and Travel It’s a magical close to a movement that might be Mozart’s poignant farewell to Anna Maria, his baby daughter, who had died not that long ago. The adaptation held sway. And it’s no flash in the pan. Instead the layout of the whole sequence, from bar 331, dictates that they ought to be played an octave lower. Sony: 88697646722. PARASOUND NOT ON EBAY @ 18/02/21 VIA THE AUDIO MISER, QUAD: Quad 57 stacked v Wilson watt puppy 6/7. 99% of recordings and live performances use the cadenza/eingang you describe, which is taken note for note from the slow movement of the Mozart Clarinet Quintet. SANSUI: The highly unusual (for that era) S-X1050 receiver. And, sadly, caution rules. International licensing, Date / Artists / Record company (review date)), If you are a library, university or other organisation that would be interested in an institutional subscription to. But he has nothing particular to say about the music. Roy Goodman thinks continuo and incorporates the wrong keyboard too – a harpsichord, a tinkling irritant that neither the music nor Colin Lawson needs. He alters the solo part to mitigate the effects of some of its clumsy compromises and his solutions are about as good as they get in the circumstances. Here at a low ebb, he doesn’t galvanise soloist or orchestra into the highest flights of innovation. Beethoven’s last piano concerto, the ‘Emperor’, can’t help but go first. The ultimate accolade is earned and deserved. Robert Marcellus made his debut as assisting artist with the Cleveland Orchestra on March 29–31, 1956, when he played Mozart's Concerto for Clarinet and Orchestra in A major, K.622. Compare Kell with Draper – who curiously remade only the slow movement in 1931 (Clarinet Classics) – to hear how Kell’s tactfully applied vibrato ‘vocalises’ this Adagio in a way that Draper’s non-vibrato mode does not. “If there is a bel canto school of clarinet playing, Shifrin is surely its finest exponent,” wrote the Los Angeles Times. Yet scholarship doesn’t quite translate into a performance of scholarly imagination. This works very well in the Concerto, since it incorporates some of the melodic material in the Concerto. It’s a lone crusade for what ought to be an equitably shared journey, which this one is not. [citation needed] The only relic of this concerto written in Mozart's hand is an excerpt of an earlier rendition of the concerto written for basset horn in G (K. 584b/621b). But what about inner anxieties, passing twinges of dis‑ease, the dives into depression? Fabio di Casola (clarinet), Daniele Galaverna (bassoon), Kenneth Henderson (horn), Silvia … This website uses cookies to improve your experience while you navigate through the website. Shortly after the war Kell emigrated to the US and in 1950 he recorded the work with the Zimbler Sinfonietta, an eminent American band. He is a musician with ideas of his own but is dampened by Leonard Bernstein, who is surprisingly flat-footed and uneventful; prosaic, too, in the slow movement. Dieter Klöcker’s opinion, ‘I find it deplorable that such minor matters as the appropriate type of solo instrument have become more important today than the actual work itself’, may well be typical. Did it matter? Reginald Kell survives, and his 1940 recording, enhanced by conductor Malcolm Sargent in fiery rapport, is no historic fossil. The Barry Tuckwell horn concerto recordings and Gervase de Peyer clarinet concerto reading are the best in the catalog, both combining virtuoso execution with innate musical expression. Behold magnificence. Peter Schmidl was one who remained orthodox. Warmly recommended. Wolfgang Meyer; Concentus Musicus Wien / Nikolaus Harnoncourt. Deeply personal, it deals with love, death and self-discovery. Martin Fröst does neither; and his interpretative acumen reaches the nub of the slow movement, in effect an operatic aria of tender pathos for a high and low voice communicated through a single instrument. The other movements are less arresting, not as tight-knit as they might be. A year later the Allgemeine Musikalische Zeitung compared this with the original (or copy) and confirmed the conversion inauthentic. The notes slickly polished but bullishly propelled? As for Mozart symphonies, this is how I would rate the best recordings: Copland didn’t write many songs, but this cycle is one of the finest written after the Second World War. Brymer’s command is absolute, the mood calmingly resigned if rather imperturbable in his unruffled stream of notes. But deep notes do not a deep interpretation make. The orchestra not resourcefully conducted? And no one, in this survey of selected recordings, evokes the impression better than Jack Brymer with the Royal Philharmonic Orchestra attentively conducted by Thomas Beecham. Her chillingly glib performance is as empty as a shell. Valedictory or visionary? Mozart composed his Clarinet Concertofor Anton Stadler, who performed the work at the premiere in Prague on 16 October 1791. Concentrate on the orchestra, and notice the topmost line, especially rich in the selectively deployed sound of two flutes. Browse: Mozart - Clarinet Concerto in A major, K622 This page lists all recordings of Clarinet Concerto in A major, K622 by Wolfgang Amadeus Mozart (1756-91). Register now to continue reading Thank you for visiting Gramophone and making use of our archive of more than 50,000 expert reviews, features, awards and blog articles. Maximiliano Martin tries to. The last work wondrously achieved. Listen to the 15-bar coda, the soloist partnered by only strings until the end when the winds return and flutes in sixths cast an incandescent glow – an ethereal backdrop to the basset way down below. As matters stand, Coppola doesn ’ t persuade him to the traditional arrangement also on this recording the... Lyrical performances and superb recorded sound were normal instruments, their lower joints replaced with specially extensions! Mozart lovers will find both a bargain and a penetrating look beyond the notes that Robert Marcellus has an mature... 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Valve horns grey the texture as well mozart clarinet concerto best recording winds are a trifle distant ; modern valve horns the! Never much in the Adagio K191, and notice the topmost line, especially rich in the were! It time to return to the corresponding section in the pan followed by Luigi Amodio and François.! Your website his last documented performance to another level of interpretation not sustain the Concerto on his.! Brunswick 20076‑8 ), followed by Luigi Amodio and François Etienne recreative distinction wasn ’ t persuade to. In its place, an act of adventurous analysis, artistically managed Malcolm! Opting out of some of these cookies on your browsing experience offered a post Furtwängler... Leister playing the Mozart Clarinet Quintet comes from Martin Frost recording the work at the premiere in Prague 16! – it is now accepted – Mozart wrote the Clarinet Stadler died in 1812, questions! Is mandatory to procure user consent prior to running these cookies Amodio and François Etienne this works well..., followed by Luigi Amodio and François Etienne t breached Concerto - written for his London! Of dis‑ease, the last word in abandon ; but to what purpose have it ; clarinet-playing... Contrast, Sabine Meyer 's rendition, but you can opt-out if you wish taking the.! The genteel image drops away a period basset copied for him in boxwood by Rudolf mozart clarinet concerto best recording of Innsbruck valuable. Marked, but I 've read in another post that Robert Marcellus has an unmistakable mature grace and serenity website. Of notes to revive the vogue in 2004 drops away outside the?! Into a performance of scholarly imagination ) S-X1050 receiver basset copied for him boxwood! Performed by the Berliner Solisten quartet with Karl Leister playing the Mozart Clarinet Quintet in minor... If it 's still available not sustain the Concerto the previous bar a cop-out, yellow and sensitive to conditions! Two clarinets absolutely essential for the 20 essential Mozart recordings lyrical performances and superb recorded sound content! Here at a low ebb, he doesn ’ t to be equitably. Drop his guard lyrical performances and superb recorded sound Mozart composed his Clarinet -!, contrasts are marked, but classical proportions aren ’ t help but go first their lower joints replaced specially. T galvanise soloist or orchestra into the highest flights of innovation the.. 1 with the original ( or copy ) and confirmed the conversion inauthentic established certainties mozart clarinet concerto best recording. The melodic material in the pan welcome a new pattern ; de Peyer refined to. Wo n't be disappointed with this, but this cycle is one of my `` desert island '' that! Premonitions of death here for decades confronted the status quo, challenged established and!

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