Phantasiestücke Josef RHEINBERGER (1839-1901)
Sonata for clarinet and piano, Op.105a (1893) [21:06] Marie Elisabeth von SACHSEN-MEININGEN (1853-1923)
Romanze in F major for clarinet and piano (1892) [6:52] Robert SCHUMANN (1810-1856)
Drei Phantasietücke for clarinet and piano, Op.73 (1849) [10:36]
Drei Romanzen for clarinet and piano, Op.94 (1849) [12:13] Carl REINECKE (1824-1910)
Vier Phantasiestücke for clarinet and piano, Op.22 (1845) [16:10]
Jean Saulnier (piano)
rec. 14-17 April, 2007, Salle Françoys-Bernier, Domaine Forget,
Québec, Canada. DDD ATMA CLASSIQUE
ACD2 2516 [67:26]
This disc from the Canadian record label Atma
Classique showcases the playing of clarinettist André Moisan
and pianist Jean Saulnier. We are informed that this is Moisan’s
seventh disc for Atma in this 2007/08 season which sees him
celebrating thirty years as a professional clarinettist. Saulnier
has previously appeared with Moisan on a much admired 2005
disc of Brahms and Jenner clarinet sonatas for Atma. I have
also come across Saulnier’s 1999 recording of Shostakovich,
Schnittke, Prokofiev sonatas with cellist Yegor Dyachkov for Disques
Here are five works for clarinet and piano from
the pens of four composers with very different levels of exposure.
Schumann is a key name known throughout the music world; Rheinberger
and Reinecke hover on the outer fringes and I very much doubt
that many readers will have heard of the Princess Marie Elisabeth
von Sachsen-Meiningen. Of special interest is a claimed world
premiere recording of the Rheinberger Sonata for clarinet
Although a composer who is generally overlooked these days Josef Rheinberger
had a most successful and highly productive career composing
almost 200 published scores. Working in Munich, Rheinberger
enjoyed an esteemed international reputation as a teacher:
notably of Humperdinck; Wolf-Ferrari; Wilhelm Furtwängler and
the Americans: Horatio Parker and George Chadwick. A close
friend of Hans von Bülow and Johannes Brahms, Rheinberger was
not an devotee of the progressive music of the ‘New German
School’ of Liszt and Wagner. He readily identified with the
spirit of the early Romantic movement of composers such as
Weber; Mendelssohn and Schumann, and often employed older forms
from the Baroque and Classical traditions.
Rheinberger composed in a wide variety of genres including chamber
music, a small number of orchestral works and two operas. A
sizeable proportion of his oeuvre was composed for the voice;
a substantial amount of which was for liturgical use. Composed towards the end
of his life in 1898 Rheinberger did achieve popular acclaim
with his Mass in F major, Op.190. Sadly Rheinberger’s
music has been out of vogue for many years, although, in recent
years he has become better represented in the record catalogues
with several releases of largely sacred organ and choral works.
In 1877 Rheinberger wrote a Sonata for violin and piano, Op.105
that he later transcribed as a Sonata for clarinet and piano,
Op.105a in 1893. Cast in three movements the score very much
shares the sound world of arch-Romantics Dvořák, Schumann
and Brahms, composers whose music he very much admired. It
is a highly Romantic and satisfying score that makes considerable
demands on the players. In the extended opening movement Allegro
non troppo Moisan takes centre-stage
with Saulnier only in a subordinate role. The varying moods of the movement fluctuate from the
wistful to the passionate to the tormented. The players Saulnier provide an uncomplicated and gently flowing Andante molto where
one cannot help but notice the spirit of Mendelssohn. Immediately characterising this rhythmic and melodic
closing movement Non troppo allegro is the folk influence of Dvořák (0:18-0:24) with
the character of Brahms also never far away.
Information about the composer Princess Marie
Elisabeth von Sachsen-Meiningen is thin on the ground. My search
of Grove Music Online and my reference book The
Norton /Grove Dictionary of Women Composers drew a blank.
Confusingly, the Atma annotation provides two different birth
and death dates (giving both 1853-1923 and 1891-1971). From the family court
in her home city of Meiningen - in the Thuringia area of central Germany- she was evidently associated with
a wide circle of musicians. The most famous of these included:
Theodor Kirchner, Johannes Brahms, Richard Strauss,
Richard Mühlfeld, Hans von Bülow and Fritz Steinbach. I assume from
these stated connections that this
Princess Marie Elisabeth must have lived between 1853-1923.
She wrote her single movement Romanze in F major for clarinet and piano in 1892, a score that takes a backward
glance to Mendelssohn. She stated
that her Romanze was, “magnificently played by Mühlfeld” at
a recital where Fritz Steinbach was the pianist.In
this performance of the Romanze the players convey a
warm and confident mood with undemanding and rapturously flowing
melodies. I enjoyed the contrasting section between 2:50-4:50
that is prominently brisk and spiky. This score proves highly attractive, full of finesse and deserves to
be more than a mere repertoire curiosity.
Schumann holds the position as one of the most eminent composers of
the nineteenth century and a leading member of the Romantic
Movement in Germany. Also a conductor, pianist, influential
music critic and journalist, Schumann married Clara Wieck in
1840, a remarkable pianist who was also a composer. In addition
to a considerable body of piano scores such as: Papillons, Davidsbündlertanze and Carnaval,
Schumann wrote an enduringly popular Piano Concerto,
a Cello Concerto, a great deal of lieder, four symphonies,
chamber music, choral works both secular and sacred, and his
Schumann’s three Phantasietücke (Fantasy pieces), Op.73 were
originally given the title of Soiréestücke. They were
composed in 1849 during his time in Dresden following a period
of extreme personal and political difficulties. In the controlled
medium tempo of the opening piece marked Zart und mit Ausdruck an
elaborate melody for Moisan’s clarinet dominates. The slightly
brisker pace in the central Lebhaft, leicht announces
a playful jousting between the duo. An even quicker tempo in
the closing piece marked Rasch und mit Feuer has a hectic
and excitable character.
Schumann’s set of three Romanzen (Romances), Op.94 also dates
from 1849. The opening Nicht schnell has long flowing
lines of a somewhat dour disposition and the players here impart
a restful confidence to the highly melodic central movement Einfach
innig.In the final Romance Nicht schnell - Etwas
lebhafter Schumann contrasts a bright and playful nature
with a dreamlike and relaxing quality splendidly communicated
here with relish and style.
Carl Reinecke’s career as conductor, accompanist, teacher and composer
gave him an esteemed reputation. Today Reinecke’s compositions
have been overshadowed by his distinguished name as a teacher.
Pupils came to Reinecke from many countries most notably: Edvard
Grieg, Christian Sinding, Sir Arthur Sullivan, Sir Charles
Villiers Stanford, Leos Janáček, Frederick Delius, Max
Bruch, Edvard Grieg, Johan Svendsen, Isaac Albéniz and Felix
A prolific composer Reinecke wrote over three hundred works in most
genres. In addition to a large body of piano works and chamber
music he wrote three symphonies, four piano concertos as well
as grand and comic operas. Reinecke was exceptionally well
connected and was associated with the eminent composers: Franz
Liszt, Hector Berlioz, Felix Mendelssohn, Robert and Clara
Schumann, Niels Gade, Ferdinand Hiller and Johannes Brahms.
One of Reinecke’s most notable conducting accomplishments was in 1869
when as musical director of the Leipzig Gewandhaus he was entrusted
with the first complete performance of Brahms’ German Requiem.Reinecke’s
own music fell out of fashion, although, a small number of
his works have endured in the repertoire; namely the Flute
Sonata in E major, Op.167‘Undine’ and his Flute
Concerto, Op.283. In recent years several of his works
have been recorded in the ever expanding catalogues: notably
on the labels CPO, Signum, Etcetera, Apex, Naxos, Claves and
Chandos. See my
review of Reinecke’s Harp Concerto, Op. 182, Flute
Concerto, Op. 283 and Ballade for flute and orchestra,
Op. 288 on Naxos 8.557404.
The four Phantasiestücke for clarinet and piano,
Op.22 were composed in 1845 when Reinecke was only twenty-one.
Designed to be played by either the violin or the clarinet
the four pieces may have been intended for the use of Johann
Friedrich Landgraf, the renowned principal clarinettist of
the Leipzig Gewandhaus Orchestra.
Reinecke’s four Phantasiestücke (fantasy
pieces), brief in duration and contrasting in mood, are given
a sensitive interpretation that both delights and sparkles.
The first piece, an Allegretto in the style of a barcarolle has
a forthright and serious hue followed by a bright and brisk
piece marked Presto – Un poco più lento – Prestissimo with
a central section reminiscent of the sound of raindrops. The
third piece Deutscher Waltz (Molto moderato) – Intermezzo (Più allegro)
has the spirit of a light and appealingSchubertian Ländler.
A brisker section from 3:24 provides a fitting contrast before
the piece ebbs away to a peaceful conclusion. Marked Canon (Lento
ma non troppo – Un poco più animato) the final piece consists
of a canonic dialogue between the two performers. One senses
an undercurrent of sorrow as if Reinecke is depicting an intensely
painful experience in his life.
Recorded at Québec in 2007 the closely recorded sound quality on this Atma release
is excellent: warm, detailed and well balanced with only
a slight touch of forte fierceness.
I enjoyed Moisan’s richly lyrical phrasing with an appealingly
mellow timbre. The booklet notes are interesting and reasonably
informative but not without some error.
A combination of familiar and unknown scores bound
together by their sheer Romanticism. I found this a delightful
disc with the music splendidly performed and recorded.
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