Aureole etc.




Nimbus on-line




If it’s the Czech works you’re after, do not hesitate

  Founder: Len Mullenger
Classical Editor: Rob Barnett

CD REVIEW



Some items
to consider

 


Enjoy the Gothenburg Symphony Orchestra wherever you are. App available for iOS and Android

Lyrita 4CDs £16 incl.postage

Lyrita 4CDs £16 incl.postage


Decca Phase 4 - 40CDs


Judith Bailey, George Lloyd


BAX Orchestral pieces


CASKEN Violin Concerto

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

alternatively AmazonUK   AmazonUS


 

 

Wolfgang Amadeus MOZART (1756-1791)
Clarinet Concerto in A, K. 622 (1791) [29:09]*
Aaron COPLAND (1900-1990)
Clarinet Concerto (1947-8) [17:01]
Richard STRAUSS (1864-1949)
Duett-Concertino, AV 147 (1947) [19:51]+
Richard Hosford (clarinet; *basset clarinet)
+Matthew Wilkie (bassoon)
Chamber Orchestra of Europe/Alexander Schneider, Thierry Fischer
rec. Barking Assembly Hall, October 1988 and January 1989
COE RECORDS CD COE 811 [66:19]

The Copland gets the most striking performance here. Hosford's effective rethinking points up the extent to which most other renditions of this score, a relatively recent addition to the repertoire, already conform to a standard interpretive paradigm. 

At the outset, for example, most clarinetists, seduced perhaps by the open, clear textures and harmonies, lapse into a sort of dreamy fuzziness. Hosford, with gentle attacks, places each note of these phrases precisely and rhythmically; the result is more assertive, even plaintive, with the clarinet tone taking on a sharp edge as it climbs above the stave. The violins' wistful poise at 4:23 turns the theme into a French waltz, not inappropriately given the composer's Boulanger training in Paris. As the clarinet writing de-evolves into shorter bursts of notes at 7:03, Hosford inflects each segment so as to lead on to the next - a logical subtlety, but one frequently missed. The passage beginning at 9:16 - which I think of as jazzy, though it's barely syncopated - with strongly marked rhythms, hints at some weight. The phrases at 9:53 and again at 13:04 infuse the basic motor impulse with a waltzy buoyancy. The closing sections are conventional in spirit, but go nonetheless with energy and zest. 

The Mozart is the same performance I reviewed, and enjoyed, as part of an all-Mozart program (COE Records CD COE 814). Revisiting it, I was further impressed by the overall sheen of the orchestral textures, and by Hosford's nuanced shading of the Adagio's long melodic phrases. 

The Duett-Concertino, Strauss's own peculiar take on the sinfonia concertante format, doesn't quite come off here. The opening tempo is misjudged - it flows nicely, but could use more space and serenity - and, in the first two movements, Matthew Wilkie's unduly reticent bassoon throws off the interplay between the two soloists. In the finale, Wilkie achieves a better parity with Hosford, and this movement, at least, sounds cheerful and appealing. 

Thierry Fischer's name appears on COE's booklet and endpaper, but not on the disc itself, nor is there any indication as to which piece(s) he might have conducted. We already know from COE 814 that Schneider conducts the Mozart; on the other hand, that release doesn't indicate the recording venue, here identified as Barking Assembly Hall.

Stephen Francis Vasta

 


Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 

Return to Review 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.