Review
Swiss clarinetist Michel Yost (1754 - 1786) played in Paris for most of his career. Although 14 clarinet concertos were initially credited to him, it was later discovered that Yost had collaborated with composer Johann Vogel, who put Yost's ideas into written form. This concerto is in three movements: Allegro Moderato, Andante and Rondo. The first movement has a 50-measure tutti introduction in which the clarinetist has the option to play. The clarinet part consists of simple rhythms: half, quarter, and 16th-note passages, with an occasional 32nd-note flourish ending on a high note - the highest note in the piece, contained in this movement, is a high register E. The lengthy solo passages are interspersed with sufficient measures of rest, giving the clarinetist an ample amount of time to recover before playing again. The end of the first movement includes an extensive cadenza. The clarinetist plays the entire second movement with quarter and eighth rests scattered throughout. The melodies introduced in this movement are delightful, and there is ornamentation provided by the composer. The pianist finishes the movement with an eight-measure transition into the third movement. The Rondo is based on a pleasant, happy tune that is light and fun to listen to. There are time signature changes from duple meter to triple meter (2/4 to 3/8 to 2/4) and some technical sections that would require diligent practice. This is a delightful piece. As clarinet¬ists, we are always excited to play early Classical period music, and to find music originally written for the instrument is wonderful. If one can reconcile how to play the part endurance-wise, this is a worthwhile piece to play. It is a good solo for high intermediate level to beginning advanced players, although the 32nd notes and change of time signature in the third movement would afford challenges to the intermediate player. Measure numbers are included in both the clarinet and piano parts. The piano part is in a laminated cover that is spiral bound - always an advantage to the pianist as the part will lie flat when opened. The notes are printed in a font that is easily read on the staves, however there are an inconsistent number of staves on each page of the clarinet part. Pages include from 8-11 staves per page, and the pages with more staves are difficult to read and some of the notes appear to be squished together toward the end of the line. The piano part, on the other hand, is very consistent-four staves per page. The only time when this is not the case is after the clarinet cadenza (the clarinet part is not included) and the staves appear to be closer to each other which is harder on the eye. A typed copy of the original manuscript version of the clarinet part is included in the back of the piano score. This part includes original articulations, tempi, and dynamic markings and it is helpful to have this part to reference in order to determine the composer's intent. Although markings were not plentiful in the Classical period, it gives us an idea of the freedom performers had in expressing the music. John Gibson's interest and contribution to the clarinet literature is appreciated. Yost and Vogel collaborated on 14 concertos - this reviewer would like to see more! - Alice Meyer March 2009 issue of The Clarinet magazine --The Clarinet, magazine of the International Clarinet Association
About the Author
Michel Yost(1754 - 1786):A Swiss-born clarinetist who played with the Concert Spirituel in Paris, France.