> Swiss Concertos of the Twentieth Century: Flute and Clarinet [RB]: Classical CD Reviews- Nov 2002 MusicWeb(UK)

One of the most grown-up review sites around

54,416 reviews
and more.. and still writing ...

Search MusicWeb Here



International mailing

Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Swiss Concertos of the Twentieth Century: Flute and Clarinet
Hermann HALLER (1914-2002)
Flute and Clarinet Concerto (1961) [17.03]
Wladimir VOGEL (1896-1984)
Flute Concertino (1979) [11.19]
Robert BLUM (1900-1994)
Clarinet Concertino (1974) [11.29]
Hans SCHAEUBLE (1906-1988)
Flute Concertino (1959) [15.58]
Philipp Jundt (flute)
Elisabeth Häfliger (clarinet)
Camerata Zürich (strings)/Räto Tschupp
rec. Radio Studio, Zürich, Oct 2001 (Blum; Haller); Jan 2002 (Vogel; Schaeuble)


Crotchet   AmazonUK   AmazonUS

Here are four rare Swiss concertos for wind instruments. They will provide provocative and sometimes testing listening for anyone who is already won over by the Nielsen wind concertos and wants to know where to go next. The Schaeuble and the Haller are the most approachable. The Vogel and the Blum embrace various brands of dissonance though not the wilder extremities explored by the likes of 1970s vintage Thea Musgrave, Alexander Goehr and Maxwell Davies. There is no Malcolm Arnold counterpart in this group. All the concertos/concertinos are with string orchestra.

Haller was born in Burgdorf and studied with Volkmar Andreae and Czesław Marek as well as attending Paul Hindemith's lectures at Zürich University. High office in the Swiss musical establishment came his way and he might well be viewed as a career counterpart to William Schuman in the USA. He spent some time in Paris with Nadia Boulanger and French charm does, I think, show through in this double concerto. The outer movements after a quiet introduction in the case of the first tend towards vortices of capricious energetic activity. The wilder moments seems to suggest a gale-buffeted tree in full leaf. The flute and clarinet often shadow each other's material. Think in terms of late Nielsen and Lennox Berkeley - lyrical with the lightest libation of vinegar. The liner-notes speak of twelve-note rows but the technique is by no means belligerently present.

Vogel was born in Moscow (where he was influenced by Scriabin - not apparent in this concertino), moved to Berlin after the Great War and was then swept to Switzerland by the Nazi rise to power. His music is more 'advanced' and fragmented than Haller's work but preserves a slightly acidic Bergian immediacy. The style sometimes recalls 1960s Penderecki and at others the Schoenbergian writing of Humphrey Searle. However Blum's Clarinet Concerto is a much more lyrical work than my first listening suggested.

Schaeuble's warm and lambent Concertino is an elysian work in an idiom that might be compared with Fauré with Bergian edginess. It is in five movements played without break.

The sound throughout is very agreeable. The performers are responsive and they are well advocated by Guild's sound engineers.

How pleasing to see the name of Räto Tschupp as conductor. Sad however to discover that he died on 12 February 2002. He was founder and director of Camerata Zürich. His name may ring a bell with you. Thirty years ago he was the conductor of a Beethoven piano concerto cycle with the pianist Hanae Nakajima and (I think) the Hamburg Philharmonic. The first LP to appear included The Emperor. It made a major splash at the time coming out of total obscurity and without the benefit of any form of media marketing. The LPs, in pretty rudimentary packaging, were sold through Woolworths in the UK and at something like 87p stocks of each shifted like hot cakes. They were praised to the skies in some quarters. Yet Nakajima disappeared from view (unless you know better) and similarly Herr Tschupp. As it turns out he became a hardworking figure in Switzerland's musical life being a particular champion for 20th century music and the dedicatee of many new works. He premiered more than one hundred such works during his career.

The notes are lucid and detailed as one would expect from Chris Walton.

Rob Barnett

Return to Index

Untitled Document

Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.