Stamitz: Clarinet Concertos, Vol. 2 Review
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Friday, December 28, 2012
Stamitz: Clarinet Concertos, Vol. 2
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Wednesday, December 19, 2012
Mozart: Clarinet Quintet; Kegelstatt Trio
Mozart: Clarinet Quintet; Kegelstatt Trio Review
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Saturday, December 8, 2012
Spohr: Clarinet Concertos Nos. 1 & 2
Spohr: Clarinet Concertos Nos. 1 & 2 Review
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Thursday, November 29, 2012
Benny Goodman Collector's Edition
Benny Goodman Collector's Edition Review
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Tuesday, November 13, 2012
Copland: El Salon Mexico / Concerto for Clarinet and String Orchestra / Music for the Theatre / Connotations for Orchestra ~ Bernstein
Copland: El Salon Mexico / Concerto for Clarinet and String Orchestra / Music for the Theatre / Connotations for Orchestra ~ Bernstein Review
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Copland: El Salon Mexico / Concerto for Clarinet and String Orchestra / Music for the Theatre / Connotations for Orchestra ~ Bernstein Specifications
There has never been a better interpreter of Copland's music than Leonard Bernstein. Lenny's affection for--and understanding of--Copland and his music was matched by a unique physical ability to get the feeling of the music across as a conductor; in essence, he became the music when he conducted it, something Copland himself wasn't capable of. As a consequence, Bernstein's accounts of Copland's music speak with a convincing accent and special authority. That's certainly the case with these performances, which date from the last year of Bernstein's life and find him reunited with his old band, the New York Philharmonic. The bookends are the Music for the Theatre, from 1925, and Connotations for Orchestra, commissioned by Bernstein and the Philharmonic for the opening of their new home at Lincoln Center in 1962. Both are impressively done, as is El Salón México, one of the most rousing and colorful of Copland's orchestral essays. A different Copland emerges in the Clarinet Concerto, which was composed for Benny Goodman in 1947 and fashioned with a lapidary touch. The Philharmonic's principal clarinet, Stanley Drucker, steps easily into the solo role, playing with great sensitivity in the pensive opening movement--which, with Lenny on the podium, sounds very slow and full of tenderness, though perhaps a bit too poignant--and showing plenty of agility in the concerto's finale, where Latin and jazz elements come into play along with the high notes that were one of Goodman's specialties. --Ted Libbey
Friday, November 2, 2012
Mozart: Clarinet Concerto, Oboe Concerto, Bassoon Concerto (Soloists/Vienna Philarmonic Orchestra, Karl Boehm)
Mozart: Clarinet Concerto, Oboe Concerto, Bassoon Concerto (Soloists/Vienna Philarmonic Orchestra, Karl Boehm) Review
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Mozart: Clarinet Concerto, Oboe Concerto, Bassoon Concerto (Soloists/Vienna Philarmonic Orchestra, Karl Boehm) Specifications
Alfred Prinz and Karl Bohm take leisurely tempos in the outer movements of Mozart's clarinet concerto, offering a ripe, warmly expressive reading of the piece. With the Vienna Philharmonic providing lovely support in the tuttis, this wonderful account still stands very near the top of the list of recorded Mozart. The remastering is excellent, and with three of Mozart's wind concertos packed onto it, all in first-rate performances, this mid-price disc is an outstanding value. --Ted Libbey
