We also use third-party cookies that help us analyze and understand how you use this website. 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. My personal favorite on a traditional A clarinet was recorded in 1961 by the brilliant clarinetist Robert Marcellus with the Cleveland Orchestra conducted by George Szell. Find recording details and track inforamtion for Clarinet Concerto in A major, K. - Wolfgang Amadeus Mozart on AllMusic There aren’t any answers, of course. … It’s strikingly dissimilar, a pale reflection of the non-conformist who had once brought colour and drama to his interpretation. In 1801 three companies, André, Sieber and Breitkopf & Härtel, published editions of the work with the solo part in an identical conversion for the regular instrument. Toscanini offered a post, Furtwängler thought him the only clarinettist who played from the heart. Who for decades confronted the status quo, challenged established certainties and dared listeners to think outside the box? His idea of deference simply comes across as bland and insouciant; Marriner père smooth, dapper and unfazed, a formula foisted on Jack Brymer too. The autograph subsequently vanished; and Stadler died in 1812, leaving questions unanswered. Still and all, Mozart lovers will find both a bargain and a gold mine upon acquiring this disc. Stadler appears not to have objected. Piano Concerto No. The recording of the Clarinet Concerto that Robert Newman mentions is on "Mozart Wind Concertos" Berlin Philharmonic/ HVK : EMI Studio. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Haven’t we experienced this approach before? 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. BEETHOVEN: Why Beethoven tugs at the heart strings: The rhythms of the German composer's music may have been prompted by a ... VAUGHAN WILLIAMS: Philip Dukes / James Gilchrist / Anna Tilbrook Songs of Travel - Songs and Chamber Works, Interconnect length vs speaker cable length. *HQ Audio*, Bo Diddley and Ron Wood - Live At The Ritz (DVD), RED HOT CHILI PEPPERS: How Deep Is Your Love (Bee Gees Cover), ROBERT MILLIS: Indian Talking Machine (Limited 2CD+Book), ERIC BURDON: The irrepressible beast – interview, HMV VINYL: Phil Collins - No Jacket Required - Limited Edition Orange Vinyl. Mozart’s last concerto presents unique challenges to those recording the work, finds Nalen Anthoni. ‘Aren’t those basset notes wonderful?’ Lorenzo Coppola seems to be asking as he produces the deepest, fruitiest sounds imaginable. If, however, in her quest for depth of understanding King is sometimes a mite constrained, her recording is nevertheless a pivotal point in the concerto’s interpretation. Modern bassets initially used in the UK were normal instruments, their lower joints replaced with specially built extensions. Beethoven ‘Emperor’ Concerto. The text ritually intoned? As for Mozart symphonies, this is how I would rate the best recordings: She reversed a trend, taking the concerto to another level of interpretation. This works very well in the Concerto, since it incorporates some of the melodic material in the Concerto. None is extant. Fabio Di Càsola; Musikkollegium Winterthur / Douglas Boyd. The progression from bar 331 is no different and similar examples occur in the other movements too. And, sadly, caution rules. 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. Could Mozart, who finished this concerto about eight weeks before he died, have been anything other than valedictory? And there, in September, Stadler gave his last documented performance. Mozart composed his Clarinet Concertofor Anton Stadler, who performed the work at the premiere in Prague on 16 October 1791. 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. 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. 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. | The last work wondrously achieved. Valedictory or visionary? Mozart now talks tough, the genteel image drops away. 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. 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. In essence Anton Stadler, for whom the work was composed, owned a custom-built instrument with an extended range. Mozart: Clarinet Concerto in A major K. 622 - Clarinet Quintet in A, K 581. EMI CDM 567 6012 . 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). Unexpectedly, Frans Brüggen is below form, not the musician who had recorded Mozart and Haydn symphonies that were products of a sharply erudite mind. But what about inner anxieties, passing twinges of dis‑ease, the dives into depression? Conductor and soloist don’t see eye to eye, Marcellus elegant of phrase and bewitchingly cultivated in sound at odds with Szell’s powerful profiling and famed rhythmic exactitude. Here at a low ebb, he doesn’t galvanise soloist or orchestra into the highest flights of innovation. You’ll notice that the cover shows Shifrin with two clarinets. In one respect, though, Brymer intrigues. But he has nothing particular to say about the music. Behold magnificence. Is there a choice? Is there a choice? Get acquainted with our picks for the 20 essential Mozart recordings. SANSUI: The highly unusual (for that era) S-X1050 receiver. Valedictory or visionary? The published version was clearly an adaptation; the additional four notes had been raised an octave or otherwise recast in ways to suit the conventional clarinet. Reginald Kell survives, and his 1940 recording, enhanced by conductor Malcolm Sargent in fiery rapport, is no historic fossil. Then I orchestrated almost the entire Rondo of the Stadler concerto.’ No premonitions of death here. This website uses cookies to improve your experience. Stick to the traditional clarinet but not to the traditional arrangement? But opting out of some of these cookies may have an effect on your browsing experience. Concentrate on the orchestra, and notice the topmost line, especially rich in the selectively deployed sound of two flutes. But what about inner anxieties, passing twinges of dis‑ease, the dives into depression? My absolute favorite recording of the Clarinet Concerto and Clarinet Quintet comes from Martin Frost. 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. Maximiliano Martin tries to. Deeply personal, it deals with love, death and self-discovery. Roy Goodman thinks continuo and incorporates the wrong keyboard too – a harpsichord, a tinkling irritant that neither the music nor Colin Lawson needs. I really like Sabine Meyer's rendition, but I've read in another post that Robert Marcellus has an excellent one also. Boxwood. The upshot: a mid-20th-century performance on 18th-century instruments – and a cop-out. Nor has the conductorless Collegium Aurem. Boyd contributes a continuously symbiotic framework for Di Càsola to build an interpretation where tone, dynamics, articulation and accents are varied to mirror a range of moods suggested by melody, phrase and harmony. Thea King, never much in the public eye, was nevertheless a connoisseur’s musician. Christopher Hogwood is most supportive and uses a fortepiano, not as a continuo instrument (an anachronism in itself) but to add an ‘aural flavour’ to selected notes. The last concerto, valedictory and visionary. 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. Her chillingly glib performance is as empty as a shell. Beecham isn’t to blame – period practice and all it engendered was some way off – but he deserves rebuke for cutting 28 bars in the finale. Here he is again, incorrigible as ever, wholeheartedly backed by consummately gifted clarinettist Wolfgang Meyer. Gramophone is part of This is an excellent recording of Mozart's Clarinet Concerto and Clarinet Quintet. Mozart’s last concerto presents unique challenges to those recording the work, finds Nalen Anthoni. I asked Antony why he felt it time to return to the concerto. These cookies do not store any personal information. Instead the layout of the whole sequence, from bar 331, dictates that they ought to be played an octave lower. In 1973 Hans Deinzer made the first recording on a period basset copied for him in boxwood by Rudolf Tutz of Innsbruck. Its absolutely gorgeous and pristine sound quality. 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. Could you be unorthodox within orthodoxy? This website uses cookies to improve your experience while you navigate through the website. Eric Hoeprich does – to a degree. On October 11–13, 1956, he has also assisted in other works that call for solo clarinet, including the concerto by Paul Hindemith and that by Manuel de Falla. Bald fact: not all proponents of the modern clarinet believe in the basset. Fabio di Casola (clarinet), Daniele Galaverna (bassoon), Kenneth Henderson (horn), Silvia … 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. 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. Tighter direction from Gottfried von der Goltz might have neutralised reservations but, as matters stand, Coppola doesn’t delve. Its one of my "desert island" CDs that I could not live without. It is mandatory to procure user consent prior to running these cookies on your website. What are the finest recordings of Mozart&'s Clarinet Concerto? Was Mozart visionary in such circumstances? 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. But he cannot sustain the concerto on his own. Is there a choice? Bärenreiter incorporated the reconstruction into its New Mozart Edition; but clarinettists also suggest their own modifications. The MOZART CLARINET QUINTET in A minor is performed by the Berliner Solisten quartet with Karl Leister playing the Clarinet. Receive a weekly collection of news, features and reviews, James McCarthy Antony had worked with Robert Bailey and an earlier incarnation of the Michaelangelo [sic] orchestra for a 1998 recording of the Mozart Clarinet Concerto, released as a CD on the Musical Fidelity label (MF018). Wolfgang Meyer, a Deinzer pupil with a Tutz replica as well, is in total sympathy but still the soloist, weaving his own spell everywhere, his musicianship fine-tuned to an expressive reach and a spellbinding spectrum of tonal subtleties. Stadler, who played the clarinet and basset horn, had been a close friend of Mozart’s since the e… These cookies will be stored in your browser only with your consent. VINTAGE: Who made the best vintage audio? Come the first tutti, he tautens the rhythm and prominently swaggering natural horns step in, stepping in prominently at every tutti where prescribed in the two Allegros, some more driven than others, some more swaggering and fiercely stressed than others. The adaptation held sway. Reginald Kell, renowned and sought after, presents a steely yet songful performance as valuable today as it was then. Mozart: The Great Piano Concertos, Vol. Even John Barbirolli couldn’t persuade him to drop his guard. But disparity dogs the outer movements. A true find. Could Mozart, who finished this concerto about eight weeks before he died, have been anything other than valedictory? Showing 91 - 100 of 204 results A year later the Allgemeine Musikalische Zeitung compared this with the original (or copy) and confirmed the conversion inauthentic. Sound Quality: 7. He omits bar 333 in the first movement because the notes here repeat the previous bar. Only Goodman’s misguided zeal casts a shadow. Stale routine is eschewed; in its place, an act of adventurous analysis, artistically managed. Mozart: Clarinet Concerto. 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. Not successfully, though. This category only includes cookies that ensures basic functionalities and security features of the website. And it’s no flash in the pan. Also on this recording are the Bassoon Concerto, K191, and Clarinet Concerto, K622. The best recordings of Mozart's Clarinet Concerto. Welcome a new clarinet, or to be precise a clarinet for which – it is now accepted – Mozart wrote the concerto. He is a musician of cultivated taste but he reticently understates his role, also imitating Meyer in glossing over the raison d’être of the basset, its low notes. But deep notes do not a deep interpretation make. Necessary cookies are absolutely essential for the website to function properly. 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. The performances are first rate and the recording is well done. Harnoncourt begins as he believes but his lyrically relaxed entry is deceptive. You also have the option to opt-out of these cookies. His sympathetic ministrations seem to have little effect on an earthbound soloist, Vladimír Říha, whose playing is tonally monotonous and lacking in inner life. FM GEAR CLASSIC JAPANESE (NOT ON EBAY @ 09/01/21) VIA THE AUDIO MISER, TCHAIKOVSKY: Symphony No 6, 'Pathétique' ... a quick guide to essential recordings, IAIN MATTHEWS: Same Old Man (Live Acoustic), FREE: Mr Big ( Live BEATCLUB Germany ) . BLOP888 Then I orchestrated almost the entire Rondo of the Stadler concerto.’ No premonitions of death here. Let’s just savour the Adagio once more. Yet scholarship doesn’t quite translate into a performance of scholarly imagination. All | CDs | DVDs: Mozart: Clarinet Concerto in A Major, K.622 (3rd movement) The ultimate accolade is earned and deserved. Stadler appears not to have commented. “If there is a bel canto school of clarinet playing, Shifrin is surely its finest exponent,” wrote the Los Angeles Times. Piano Concerto No. You couldn’t apply such strictures to Robert Marcellus who, with Szell as a close ally, is at his finest in the Adagio, capturing its inherent intensity at a tempo that doesn’t drag. Mozart’s Clarinet Concerto, widely regarded as the greatest clarinet concerto and his last instrumental work, was completed in October 1791, less than two months before the composer’s death at the age of just 35. There you have it; superlative clarinet-playing, superlative conducting and a penetrating look beyond the notes. 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. Affekt predominates, contrasts are marked, but classical proportions aren’t breached. Talich isn’t as lucky. Was Mozart visionary in such circumstances? A 21st-century artist stays in the present but stretches the envelope. The whole sequence, from bar 331, dictates that they ought to be precise a Clarinet for which it... It was then bassets initially used in the basset with our picks for the website category only cookies! In his unruffled stream of notes probably did Thea King for her recording time! 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