Pleyel Clarinet Concertos

The resurgence of interest in music of the Baroque and Classical eras and the formation of now almost countless ensembles performing music from those periods on historical instruments have fostered renewed curiosity in the musical unknown. In some cases, the result of this has evolved into a situation where the details of the interpretation surpass the music being performed, but there is a more practical aspect to this evolution: the establishment of organizations whose purpose is to foster interest in the music of Haydn and Mozart's contemporaries, some of whom include Franz Hoffmeister, Antonio Rosetti, and Antonio Salieri.
The enthusiasm of these organizations has resulted in numerous scores, recordings, and concerts that further the cause of these societies. Ignaz Pleyel (1757-1831) is no exception to the trend. Music history has pronounced an indefinite judgment on this student of Haydn and colleague and friend of Mozart. While some of Pleyel's music is available on disc, we have yet to scratch the surface of his output, preferring to remember Pleyel by his later endeavors as a music publisher and manufacturer of pianos. Some posit that there was no room in the inn for the likes of Pleyel during the 19th century, and the unavoidable stylistic assignment of his work to the cubbyhole of Viennese classicism was the expected consequence, but others counter with the statement that the language of the greats did not always or accurately reflect the entire spectrum of musical life.

This is one of the best clarinet/flute concertos (concerti) recorded with Pleyel’s compositions. Pleyel demanded “virtuosic brilliance” and so the performers must be at the top of their game to play his works. Paul Meyer is known for a wide repertory and an interest in modern works for clarinet. He began studying clarinet as a child and made his solo debut with the Symphony Orchestra of the Rhine at the age of 13.

Haydn's student Ignace Joseph Pleyel was nearly as prolific as his Austrian parents (he was one of 38 children), and not all of the various attempts to revive his work have found music worth reviving. His music remains mostly unknown, and instrumentalists and ensembles haven't sorted through it to find the gems. This effort by virtuoso German clarinetist Dieter Klöcker, who also wrote the rather abstract but cogent booklet notes, is one of the best contributions yet. The clarinet was a new instrument in Pleyel's time, and was undergoing rapid change.

All praise to Hungaroton for their series of Pleyel string concertos. This first volume gives us the five extant cello concertos. A concerto in D (Ben 102) advertised by Breitkopf in 1782-4 is lost. A second volume with the violin concerto (both versions) is promised. Three works here are completely new. The other two have been recorded before: Ben 106 (1797) as a cello concerto or in Pleyel’s alternative versions for flute or clarinet; Ben 104 (c1788) as a clarinet concerto—possibly Gebauer’s adaptation. Ben 105 (1790) was also issued as a viola concerto.

The album includes Brahms’ Clarinet Quintet, one of the most seminal works for the instrument – combined with Hungarian dances and waltzes by Brahms, all newly arranged to include additional material from Brahms' original musical sources, with an authentic folk twist.