The Early Clarinet Family
View record and artist detailsRecord and Artist Details
Composer or Director: George Frideric Handel, Franz (Ignaz) Danzi, Anonymous, (Johann) Christoph Graupner, Ludwig van Beethoven
Label: Clarinet Classics
Magazine Review Date: 10/1993
Media Format: CD or Download
Media Runtime: 65
Mastering:
DDD
Catalogue Number: CC0004
Tracks:
Composition | Artist Credit |
---|---|
(5) Airs for Chalumeaux or Clarinets |
Anonymous, Composer
Anonymous, Composer Gary Brodie, Clarinet Keith Puddy, Clarinet |
Overture (Suite) |
George Frideric Handel, Composer
Gary Brodie, Clarinet George Frideric Handel, Composer Keith Puddy, Clarinet Susan Dent, Horn |
Suite for 3 Chalumeaux |
(Johann) Christoph Graupner, Composer
(Johann) Christoph Graupner, Composer Gary Brodie, Chalumeau Keith Puddy, Chalumeau Paul Price, Chalumeau |
(3) Duets, Movement: B flat |
Ludwig van Beethoven, Composer
Alastair Mitchell, Bassoon Keith Puddy, Clarinet Ludwig van Beethoven, Composer |
Sonata for Basset-horn and Piano (or Cello) |
Franz (Ignaz) Danzi, Composer
Franz (Ignaz) Danzi, Composer Keith Puddy, Basset horn Malcolm Martineau, Fortepiano |
Author: Stanley Sadie
The trio of chalumeaux, I have to say, I found at best unexciting: a rather lugubrious consistently middle-register sound, and music by Graupner that seems very short-breathed and with no sense of direction. Still, at least the movements are reasonably short. Then there is the 'Beethoven' duo for B flat clarinet, played on a French instrument of about 1790, with bassoon: it is one of a group of three nowadays more or less dismissed from the Beethoven canon, but there is a good deal about its style that seems plausible as a 'prentice work, and it is played here with a good deal of life. Lastly, the basset-horn sonata by Danzi, played on an instrument of about 1820, roughly the date of the work with a piano of the type Broadwood supplied to Beethoven. This proved remarkably enjoyable. The music may not be especially subtle, and it isn't profound, but it is brilliantly written for the piano with plenty of feeling to the melodies (which are often of an operatic cut: try the second subject of the first movement), while the central Larghetto has drama as well as much warmth of expression. Malcolm Martineau makes much of the piano part and has a real command of the idiom and the shape of the lines.
However, the CD is, of course, chiefly Keith Puddy's, and he shows himself to be a most accomplished player on these various instruments. Gone thank goodness, are the days when people supposed that all old instruments played out of tune: Puddy shows beyond doubt that musicians could be just as fastidious then as they are now, and he handles these various types with skill and extracts pleasing sounds from most of them. The CD has its duller moments, to be sure, but there are plenty of appealing ones too, and lovers of the clarinet will find considerable fascination in this dip into its history—the first, it seems, of a series planned by the Clarinet Classics label.'
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