Here is a disc that guarantees the listener something out of the
ordinary. Although the cover emphasises the inclusion of Messiaen,
Stravinsky and Purcell the range is much greater. With effortless
ease Aurelian-Octav Popa, solo clarinettist of the ‘George Enescu’
Philharmonic Orchestra in Bucharest, puts the old cheek-by-jowl
with the new and the known alongside the unknown.
Popa’s own composition,
the longest on the disc, forms the first track. In it he announces
the versatility of both his instrument and a formidable playing
technique. The playing of a solo line is superimposed on six simultaneously
played recordings of other clarinet parts to weave a web of sound
that is conservative of name but daring in expression. He takes
the clarinet to its limits in terms of range but succeeds in demonstrating
that even in individual parts he is always aware of “the notion
of symphony (sounding together)”, as he says in the accompanying
notes.
A brief Purcell Prelude
follows to throw a stark contrast on Popa’s multi-voiced composition.
A variant repeat of the same Prelude appears two tracks
later. Taken from a prelude for string orchestra, Popa’s first
version presents a rather easy-going yet straight laced view,
the second version explores the clarinet’s range to a greater
extent in a free and easy manner. Purcell’s brief Hornpipe
(track 6) makes a characterful interlude between the diverse sound
worlds of Stravinsky and Tiberiu Olah. Couperin and two Bachs
complete the selection of “charming early compositions”, as Popa
calls them in his brief yet incisive notes. The Couperin is presented
with a subtly nuanced yet fluid line, its quasi-cyclical nature
proves strangely haunting too. JS Bach’s Partita is given
a sonorous performance of sensitivity, long-breathed and full
toned. Through careful phrasing and voicing the piece seems entirely
natural on the clarinet – no small tribute to Popa’s gifts as
a performer. C.P.E. Bach’s Solfegietto
contains no small measure of poignancy in its writing. Popa intentionally
plays the piece as a brief yet emotional acknowledgment of a great
father’s influence by his scarcely less gifted son.
The
rest of the disc is given over to modern miniatures for the
instrument. Martian Negrea’s Le mois de Mars incorporates
subtle colourings from Debussy and Enescu and emphasises the
fact that Romanian composers often established and maintained
western links in their writing, rather than working in an isolated
environment.
Olah’s
single movement sonata draws its inspiration from Brâncuşi’s
series of sculptures “Maiastra” which encapsulate the spirit
of a Romanian folkloric bird that flies at the edge of the known
universe, singing out into the abyss. The work attends various
elements of the bird – soaring flight to begin with; its lonely
and haunting song; the isolation of its existence. In contrast
to Brâncuşi’s sculptures which are fames for their sensuality
of curve and line, Olah treats the subject with stark angularity
of rhythm at times. Popa willingly exploits this in his playing
and makes purposeful contrast between the earlier soaring line
and later more insistent ones that tell of an endless abyss.
An alternative take on the work is given by Karin Dornbusch
on a Caprice Records CD (CAP 21551), but she is not recorded
so atmospherically and in adopting a faster overall tempo smoothes
over much angularity to give a less characterful performance
than Popa offers.
Corneliu
Cezar’s brief Théâtrale, used as radio signature tune
in Romania, is notable
for its dotted rhythms and repeated intentionally sparse line
across the clarinet’s range. Richness of tone and timbre are
evident in Popa’s playing. Mihnea Brumariu’s composition - written
for Popa - is more reflective in character initially, before
asking the soloist to articulate the boundaries of notes, glissandi
and soft rhythms in quick succession. The closing section carries
something of a clown’s humour about it, with surface laughs
hiding more serious thoughts.
Stravinsky’s
Three pieces is a work that Popa admits to having strong
emotions for. A sense of repose is caught in the intentional piano
playing of the first piece, contrasting with the more exuberant
rhythmic intricacies that follow. More than other works on the
disc the work allows Popa the freedom to express the most subtle
sustained dynamics that the clarinet is capable of. John Cage’s
sonata is surprising for the relative conformity of its material.
By stating that the dynamics and phrasing for performance are
not indicated in the score he gives the player a free hand to
push boundaries. Admittedly, Popa plays things a little on the
safe side for the recording, but he does succeed in communicating
much of the spirit of liberation that is central to Cage’s persona.
Hans-Ulrich Lehmann’s Mosaïk, appropriately, is built out
of small shards of notes grouped together with the appearance
of randomness. The work also betrays a kinship to Webern’s music
in that at first it can yield little to the listener, but in course
of repeated listening patterns can gradually emerge. Copland’s
Cadenza is rather easier in its discretely flowing melody
to take on board during a first listening.
Three works by Messiaen
complete the recorded repertoire. Popa worked with Messiaen both
as a composer and performer from the 1970s onwards and their professional
relationship was evidentially a close one. Abîme des Oiseaux is imbued with restraint across its intentionally long lines before chattering
to life amidst the subdued atmosphere that the solo line leaves
hanging in the air. Subtilité des Corps Glorieux and Hymne
des passereaux au lever du jour spring with distinctiveness
from the same pen. Uplifting, they hint both individually and
together of thoughts beyond the earthly realm. Popa’s playing
is fully involved and refined in letting the composer’s beloved
birdsong motifs sing out with ease.
Aurelian-Octav
Popa’s own brief yet insightful annotations on the works set
the seal on this most engaging recital. The recorded sound is
natural and atmospheric. But the real joy of it is that
the playing order provides but one possibility for listening;
programming your CD player to reorder the tracks allows for
others to be explored – and I have enjoyed making my own associations
in this way several times now and look forward to making new
ones in the future. Let your imagination take flight!
Evan Dickerson
Aurelian-Octav Popa
(clarinet) 
