Mozart Clarinet

Mozart's Clarinet Concerto in A major, K. 622, and Clarinet Quintet in A major, K. 581, are masterpieces of the period at the end of his life, and they've been recorded hundreds if not thousands of times. To come up with a standout recording at this point, and indeed without doing anything radical, is quite an accomplishment, but that's what Israeli-German violinist Sharon Kam does here. These performances can be classified with those that use modern instruments but show a distinct influence from historical performance practices; the Austrian-Hungarian Haydn Philharmonic is a small group designed for the dimensions of Haydn's work spaces at Esterházy castle, and Kam uses a basset clarinet (a modern one), with the somewhat extended range of the instrument for which Mozart wrote the two works.

Unquestionably, the clarinet quintets of Mozart and Brahms have earned time-honored and well-deserved places in the repertoire of clarinetists worldwide. In the informative and well-written annotations by Eric Hoeprich, we read that “they embody the maturity, depth, experience, and possibly even a premonition of an otherworldliness soon to be experienced firsthand.”

First released in 1991 and reissued in 2004, this CD of Mozart's Clarinet Concerto and the Clarinet Quintet is fair in most regards except for the featured soloist's quirky playing. Richard Stoltzman's fans may like this disc in spite of its problems, especially if they are more interested in clarinet technique than in Mozart's music. But others may sense that he has little understanding of the composer or Classical style, and that these interpretations are superficial and whimsical, rather than deeply felt or carefully considered.

This is one of the most beautiful chamber music recordings I have ever heard! The playing is absolutely superb! The phrasing is just lovely and the intonation perfect. After hearing this recording, one can hardly doubt the qualities of the historical instruments. The clear and soft sound of the gut string and the amazing period clarinet used creates something really amazing. Don't miss this one!

Over time this recording becomes progressively more and more alive and beautiful. In my opinion, this recording by Hoeprich is a document -which at the time was unique and original- of his deep knowledge of Mozart's music.

One year after the 200th anniversary of Mozart’s death, American musicologist Pamela Poulin was rummaging through the archives of the Latvian Academic Library in Riga and came upon announcements and programs for three concerts given in Riga in 1794 by Mozart’s friend, fellow Freemason, and clarinet virtuoso Anton Stadler. The programs also included an engraving of what Stadler termed an Inventions Klarinette. This led to the discovery of several basset clarinets and basset horns in various European collections. These instruments are fashioned from boxwood with brass keys and are virtually identical to that shown in the engraving on the concert program.

Mozart?s concerto actually began life as a concerto for basset horn (not basset clarinet) and was written in the key of G. The manuscript ended abruptly after the 191st measure of the first movement. Mozart rethought his plan, decided to recast the concerto in A, and overhauled the solo part for basset clarinet, an instrument developed by his friend Anton Stadler The version that entered the repertoire after Mozart?s death was an adaptation of the original.

This CD is a successful coming-together of two of Mozart's best concerti, two brilliant soloists and some very good conducting. More often than not, the Oboe Concerto in C is heard in its flute version - transposed to the key of D. This recording presents Mozart's original layout of the oboe concerto played with period instruments or accurate replicas. The bold stability of the key of C major suits the optimism of this concerto, composed in what many call Mozart's mid-period.

No timbral difference separates this midprice reissue of one of the best-loved concertos by Mozart from its previous, full-priced equivalent. There's a bit more ambience and warmth and less stridency on top. If you own the original CD, there's no need to replace it, but first-time buyers should snap up these sensitive, stylish performances in their Great Recordings of the Century guise. One of the main attractions is the extended compass and deliciously "woody" tone of Sabine Meyer's basset clarinet. The clarinetist's fleet, effortless dispatch of the Clarinet Concerto's outer movements is a delight to the ear, and her improvised (or so they seem!) flourishes fit into their environment as if Mozart had written them himself.

Brahms & Mozart - Clarinet Quintets - Maximiliano Martin & Badke Quartet (2014) {Champs Hill Records CHRCD076}
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© 2014 Champs Hill Records CHRCD076
Classical / Chamber Music / Clarinet

Two of the greatest and best-loved chamber works for clarinet. Maximiliano Martin, one of the most charismatic players of his generation, is principal clarinet of the Scottish Chamber Orchestra. The Badke Quartet, formed in 2002, is widely recognised as one of Britain's finest string quartets, receiving widespread acclaim for its energy and vibrancy. 'Martin elegantly conveys the soul and introspection of Brahms…'