It’s strikingly dissimilar, a pale reflection of the non-conformist who had once brought colour and drama to his interpretation. He is a musician with ideas of his own but is dampened by Leonard Bernstein, who is surprisingly flat-footed and uneventful; prosaic, too, in the slow movement. An interlude of bittersweet nostalgia, a look back with the odd angry flare; yet in the soul and sinew of Wolfgang Meyer and Nikolaus Harnoncourt a look forward too, vigorous, even manic in the extrovert optimism of the outer movements. I was looking all throughout Spotify and iTunes to find the best possible recording of this serenade, but i've found a lot of different results, and i'm finding it … Gramophone is brought to you by Mark Allen Group Maximiliano Martin tries to. Find recording details and track inforamtion for Clarinet Concerto in A major, K. - Wolfgang Amadeus Mozart on AllMusic Beecham isn’t to blame – period practice and all it engendered was some way off – but he deserves rebuke for cutting 28 bars in the finale. Sound Quality: 7. Showing 91 - 100 of 204 results Her chillingly glib performance is as empty as a shell. Maybe he had paraphrased Charles Hallé who, after a Manchester performance in 1855, wrote: ‘The composition, although by Mozart, is such a grandfatherly production and so lengthy that the finale had to be left out, not to try the patience of the public beyond endurance.’. Then I orchestrated almost the entire Rondo of the Stadler concerto.’ No premonitions of death here. And, sadly, caution rules. Brymer’s command is absolute, the mood calmingly resigned if rather imperturbable in his unruffled stream of notes. The MOZART CLARINET QUINTET in A minor is performed by the Berliner Solisten quartet with Karl Leister playing the Clarinet. Fabio di Casola (clarinet), Daniele Galaverna (bassoon), Kenneth Henderson (horn), Silvia … 99% of recordings and live performances use the cadenza/eingang you describe, which is taken note for note from the slow movement of the Mozart Clarinet Quintet. 1 With the talents of the Academy of St Martin in the Field … Mozart: Clarinet Concerto in A major K. 622 - Clarinet Quintet in A, K 581. My personal favorite on a traditional A clarinet was recorded in 1961 by the brilliant clarinetist Robert Marcellus with the Cleveland Orchestra conducted by George Szell. Though his dynamic gradations are limited, he has a cogent understanding of structure and shape, and a good feeling for content too. The text ritually intoned? And a wind of change, prescient of an emotional dimension in the music not entirely noticed before, blows in to break the outdated anodyne mould. How? But what about inner anxieties, passing twinges of dis‑ease, the dives into depression? There are many superb recordings of the concerto. Could Mozart, who finished this concerto about eight weeks before he died, have been anything other than valedictory? Mozart now talks tough, the genteel image drops away. Martin Fröst does neither; and his interpretative acumen reaches the nub of the slow movement, in effect an operatic aria of tender pathos for a high and low voice communicated through a single instrument. Reginald Kell survives, and his 1940 recording, enhanced by conductor Malcolm Sargent in fiery rapport, is no historic fossil. Tighter direction from Gottfried von der Goltz might have neutralised reservations but, as matters stand, Coppola doesn’t delve. Meyer's interpretation of the Clarinet Concerto has ripened since this 1992 recording, and some listeners might prefer her more playful and overtly dramatic remake with Claudio Abbado and the Berlin Philharmonic. BLOP888 I asked Antony why he felt it time to return to the concerto. Stale routine is eschewed; in its place, an act of adventurous analysis, artistically managed. No chance. SANSUI: The highly unusual (for that era) S-X1050 receiver. The Flute Concerto is notable for the fact that Mozart did not like the flute as an instrument, famously stating 'whenever I have to write music for an instrument I dislike, I immediately lose interest'. The ultimate accolade is earned and deserved. Modern bassets initially used in the UK were normal instruments, their lower joints replaced with specially built extensions. Let’s for the moment say valedictory. The soloist uses an 18th century clarinet which has some lower notes not found on modern clarinets and which Mozart utilized when he wrote these compositions. Eric Hoeprich does – to a degree. A measure of stature is returned to the music by Ernst Ottensamer. Mozart’s Clarinet Concerto, widely regarded as the greatest clarinet concerto and his last instrumental work, was completed in October 1791, less than two months before the composer’s death at the age of just 35. What Mozart probably wrote was a three-octave descent from top D to D below middle C. In the amended text, the last four notes in this passage are doubled back to end on D above middle C. In effect, three octaves become telescoped into two; and a vibrant plunge from soprano timbre to baritone (also known as the chalumeau register) is diluted. Let’s just savour the Adagio once more. The last concerto, valedictory and visionary. Yet scholarship doesn’t quite translate into a performance of scholarly imagination. In essence Anton Stadler, for whom the work was composed, owned a custom-built instrument with an extended range. Warmly recommended. His playing, of unimpeachable technique, fine finish and spotless manners, epitomises a deferential approach to Mozart that had, post-war, become the norm; and an anachronism afterwards. In contrast, Sabine Meyer is the last word in abandon; but to what purpose? Haven’t we experienced this approach before? 9 in E flat Major – K. 271. Find recording details and track inforamtion for Clarinet Concerto in A major, K. - Wolfgang Amadeus Mozart on AllMusic Here at a low ebb, he doesn’t galvanise soloist or orchestra into the highest flights of innovation. The orchestra not resourcefully conducted? But what about inner anxieties, passing twinges of dis‑ease, the dives into depression? What are the finest recordings of Mozart&'s Clarinet Concerto? The upshot: a mid-20th-century performance on 18th-century instruments – and a cop-out. This website uses cookies to improve your experience. This works very well in the Concerto, since it incorporates some of the melodic material in the Concerto. It’s time for a wake-up call from the newest kid on the block, Fabio Di Càsola, after Douglas Boyd conducts a pulsating orchestral exposition, rhythm effervescently alive, paragraphs shaped through hairpin-like increases and decreases in intensity, the big picture always kept firmly in mind. ‘Aren’t those basset notes wonderful?’ Lorenzo Coppola seems to be asking as he produces the deepest, fruitiest sounds imaginable. Sony: 88697646722. Stick to the traditional clarinet but not to the traditional arrangement? In one respect, though, Brymer intrigues. In sum, performance ought to reflect emotional content, so tempi cannot be rigid but must be tailored to evoke the many emotions embedded in music. This is an excellent recording of Mozart's Clarinet Concerto and Clarinet Quintet. Nikolaus Harnoncourt, that’s who. English (US) Español; Français (France) 中文(简体) A 21st-century artist stays in the present but stretches the envelope. Fun, exuberant, lovely, and pleasant are words that … 24 in C minor. Compare Kell with Draper – who curiously remade only the slow movement in 1931 (Clarinet Classics) – to hear how Kell’s tactfully applied vibrato ‘vocalises’ this Adagio in a way that Draper’s non-vibrato mode does not. Wolfgang Meyer, a Deinzer pupil with a Tutz replica as well, is in total sympathy but still the soloist, weaving his own spell everywhere, his musicianship fine-tuned to an expressive reach and a spellbinding spectrum of tonal subtleties. Valedictory or visionary? His idea of deference simply comes across as bland and insouciant; Marriner père smooth, dapper and unfazed, a formula foisted on Jack Brymer too. The other movements are less arresting, not as tight-knit as they might be. Unexpectedly, Frans Brüggen is below form, not the musician who had recorded Mozart and Haydn symphonies that were products of a sharply erudite mind. Such evidence absorbed into the gathering desire for historical veracity after the Second World War saw Stadler’s prototype reproduced (to be named the ‘basset clarinet’ by Jiří Kratochvíl) and the solo part conjecturally reconstructed by Franz Giegling, both ‘enabling Mozart’s melodic contours to be realised in what approaches their original form’ (Colin Lawson). Reginald Kell, renowned and sought after, presents a steely yet songful performance as valuable today as it was then. Affekt predominates, contrasts are marked, but classical proportions aren’t breached. Also on this recording are the Bassoon Concerto, K191, and Clarinet Concerto, K622. He is a musician of cultivated taste but he reticently understates his role, also imitating Meyer in glossing over the raison d’être of the basset, its low notes. Browse: Mozart - Clarinet Concerto in A major, K622 This page lists all recordings of Clarinet Concerto in A major, K622 by Wolfgang Amadeus Mozart (1756-91). 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