Mozart; Spohr Clarinet Concertos
A traditional, romantic approach to these two clarinet concertos
View record and artist detailsRecord and Artist Details
Composer or Director: Louis Spohr, Wolfgang Amadeus Mozart
Genre:
Orchestral
Label: Harmonia Mundi USA
Magazine Review Date: 7/2010
Media Format: CD or Download
Media Runtime: 0
Mastering:
Stereo
Catalogue Number: HMU907516

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Clarinet and Orchestra |
Wolfgang Amadeus Mozart, Composer
Gerard Schwarz, Conductor Jon Manasse, Clarinet Seattle Symphony Orchestra Wolfgang Amadeus Mozart, Composer |
Concerto for Clarinet and Orchestra No. 2 |
Louis Spohr, Composer
Gerard Schwarz, Conductor Jon Manasse, Clarinet Louis Spohr, Composer Seattle Symphony Orchestra |
Author: Edward Greenfield
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.
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