Jon Manasse is a brilliant young American clarinettist who has made a name for himself on both sides of the Atlantic. As well as appearing in duos with Jon Nakamatsu, and as principal clarinet in the American Ballet Theater Orchestra and the Orchestra of St Luke’s, during the 2003/04 season he served as principal clarinet in the Metropolitan Opera Orchestra.

In style he is an arch-romantic in his interpretations of both these concertos. Anyone who prefers a traditional orchestra in Mozart and Spohr as well as broad speeds in slow movements with ample rallentandos in both fast and slow movements will enjoy these performances. Despite an approach that defies latter-day fashion in these composers’ music, Manasse is consistently compelling, so that his magnetism sustains the very slow speeds he adopts in the Adagios of both the Mozart and the Spohr concertos.

This approach readily matches the recording quality, which tends to be bass-heavy in the reproduction of the orchestra, though the solo clarinet, balanced forwardly, is fresh and clear. Manasse’s shading of dynamic is most beautiful with a breathtaking pianissimo in the reprise of the main theme in the slow movement of the Mozart, leading to a sparkling account of the finale.

Dating from 1810, the second of Spohr’s two clarinet concertos suffers in juxtaposition with the Mozart: the themes are never as memorable, however skilful the writing for both clarinet and orchestra. The elaborate passagework which presents formidable difficulties for even a virtuoso soloist is here thrown off with abandon by Manasse. Spohr is prompted to have the clarinet making a brief entry just after the start, echoing the examples of Beethoven’s Fourth Piano Concerto and Mozart’s Piano Concerto in E flat, K271. Exceptionally, too, Spohr refuses to include a place for a cadenza, reflecting his disapproval of self-indulgent soloists.

The thematic material of the first movement involves march rhythms, while the finale develops a polonaise-like theme with a striking idea at the start with the clarinet set against timpani. Though the slow movement echoes that of the Mozart, the writing involves far more elaboration as a substitute for memorability. Altogether a disc to recommend to those who still prefer a traditional approach in this music.