Weber’s Grand Duo Concertant,
op.48 (1816) immediately sets the tone of this outstanding CD from IBS
Classical. Originally conceived as a ‘sonata’, the composer felt that the
present title was more fitting for its fearsomely virtuosic content. Both
players are faced by equal technical difficulties rather than the accompaniment
being subservient to the soloist.
Weber began the Grand Duo
Concertante, op. 48, in 1815 and completed it the following year. The premiere
was given in Berlin during 1817: the clarinet soloist was Heinrich Baermann and
Weber played the piano.
The Concertant is written in
three movements. The opening is a lively, and sometimes impassioned, debate
between the soloists. Occasionally, this gets out of hand, and both players
seem to be arguing at once. All ends well, however: there is no lasting falling
out of the protagonists. Formally, this ‘Allegro
Con Fuoco’ is written in sonata form. The slow movement is a poignantly
reflective ‘andante con moto.’ The finale is a breezy Rondo (allegro): there
are some darker, even ominous, episodes in what is typically pure sunshine.
The virtuosity of the present
soloists is obvious from the first to the last bar. Both survive the tremendous
complexities of this piece with assurance. Their performance confirms that the
Grand Duo Concertant is one of the great ‘warhorses’ of the clarinet repertoire.
Recent years have witnessed the
most welcome reappraisal of Gerald Finzi. Classic
FM has two of his works in their ‘Hall of Fame’: the present Bagatelles and
the beautiful Eclogue for piano and
strings. Also, regularly heard on that station, are the Romance and extracts from the Clarinet Concerto.
There is a view that Finzi is
always ‘pastoral’ in his compositions. Although it is true that he did not
flirt with modernism or serialism, there are several works that do not fall
into the ‘ruminative’ mood. Think of his Cello Concerto for example: this is
hardly ‘cow and gate’ music.
The Five Bagatelles, written
between 1941 and 1945 sit in a sort of halfway house. Certainly, the peaceful ‘Romance’,
the fond ‘Carol’ and the reflective ‘Forlane’ are largely ‘pastoral’ and retrospective
in their effect. But even here, there is occasionally something a little more
hard-edged. The opening ‘Prelude’ and
the final ‘Fughetta’ are much more dramatic and powerful in expression than may
be expected. But Finzi being Finzi never overdoes the dissonance and always
controls his music with a sensitive lyricism.
Ralph Vaughan Williams’ Six Studies on English Folk Song (1926)
have long been favourites of mine. I have fond memories of playing the piano
accompaniment for a cellist now sadly dead.
Originally written for cello and
piano, RVW dished them up in several versions, including violin, viola and for
clarinet. These studies reflect the honest to goodness simplicity that underscores
the essence of the folksongs on which the work is based. The final movement is
more energetic than the prevailing contemplative mood of the preceding five.
For me the most moving, is the second number, ‘Spurn Point.’ The duo plays them
with great skill and a tender enthusiasm.
Robert Schumann’s Fantasiestücke,
op.73 opens with a beautiful song-like piece reflecting ‘intimate, introspective
music, hesitant and reflective’ rather than confident. The second piece is
equally thoughtful, but, has a much more positive clarinet part supported by a
rippling piano accompaniment. The final number is the most technically complex.
This piece is infused with exuberance and excitement that is only tempered by a
melancholic middle section. Nevertheless, the work ends on a hugely positive
note. These three pieces were composed in 1849 and exist in versions for violin
and viola.
Jean Françaix is a composer I
would like to spend time exploring. I have no excuse, as there are many
recordings dedicated to his music. Forty-odd years ago, there was a wee vogue
for his L'horloge de flore, for oboe
and orchestra (1959) offered on a recording made by Andre Previn (RCA VICTOR
RED SEAL LSB-4094).
The Tema con Variazioni was
written in 1974 as a competition piece for the Paris Conservatoire. The work
was dedicated to the composer’s grandson, Olivier. After the theme, which
musically ‘contrives’ the syllables ‘O-li-vier’, Françaix presents six short,
but captivating variations, which range from a meditation on a summer’s day
through to a Parisian jazz-club. This music, by reason of being a ‘test piece’,
is technically difficult, especially for the clarinettist. As the liner notes
suggest, the chief challenge being ‘the concealment of the fearsome technical
demands beneath the work’s irreverent, carefree charm.’ It is my major
discovery of ‘the day’ and may well lead me to an investigation of the
fascinating music of Jean Françaix.
The liner notes (French and
English) are most helpful and contain more-than-sufficient information to
appreciate and enjoy this recital. They are written as a joint effort by the
soloists. Included are the usual soloists’ biographies. I have no issues with any part of this CD’s
production: The recording is ideal and the performances by Cristo Barrios
(clarinet) and Andrew West (piano) are superb.
This new disc presents an
exciting, varied and enjoyable programme. It is an ideal introduction to
‘Clarinet Masterpieces.’ All the pieces I know quite well, except the Jean Françaix:
this latter is a rare discovery and a delightful little gem.
Track Listings:
Carl Maria von WEBER
(1786-1926) Grand Duo Concertant, op.48 (1816)
Gerald FINZI (1901-56)
Five Bagatelles, op.23 (1943-45)
Ralph Vaughan WILLIAMS
(1872-1958) Six Studies on English Folk Song (1926)
Robert SCHUMANN (1810-56)
Fantasiestücke, op.73 (1849)
Jean FRANÇAIX (1912-1997)
Tema con Variazioni (1974)
Cristo Barrios (clarinet), Andrew West (piano)
Rec. 10-12 March 2011 Auditorio Antonio Lecuona Conservatorio
Superior de Musica de Canarias and Conservatorio Profesional de Musica de
Tenerife.
IBS CLASSICAL
IBS42018
With thanks to MusicWeb International where this review was first published.
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