Customer Reviews

Weber: Clarinet Concertos

5 star:		(4)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

I almost didn't purchase this CD due an unfavorable review it received, but I overcame my doubts and purchased it anyway, much to my delight. Weber's clarinet concertos are among the most enjoyable in the repertoire, and David Shifrin provides an equally enjoyable performance. Overall, his tone is, as usual with him, incredibly soft and smooth; and his technique is flawless throughout. Occasionally his intonation is slightly off, especially on some of the high notes, but this by no means mars the performance. Another good thing about this album is that it combines all three of Weber's compositions for clarinet and orchestra on one disc.

The Concerto No. 2 in E-flat is featured first; this is structurally the most straightforward of the three (although out of the three it is most demanding on the soloist), with the first movement written in straight sonata form with the strings dominating the accompaniment. The second movement is very operatic in nature, with sudden register leaps and dramatic declamations; it is here that most of the intonation problems occur, but again they do not hamper one's enjoyment of the music. The finale, a polacca, is dazzling virtuoso writing, some of the most difficult music written for the clarinet, but Shifrin makes it sounds effortless. It's mind-blowing musicianship.

The Concerto No. 1 in F minor is more varied in style and texture than the second concerto. The first movement is very dark and serious, reminiscent of the famous Wolf's Glen scene from Weber's opera Der Freischütz. After a menacing orchestral ritornello, the clarinet enters quietly, alone. After the mysterious opening section, the piece switches to a major key for the development, but before long we are back in F minor as the clarinet runs up and down its range in a sinister, unsettling conclusion. Again, the second movement is a songlike quasi-aria, but this time there is a fast, tempestuous middle section that recalls the darkness of the first movement. In the third movement, however, all shadows are dispelled as the clarinet engages in a playful, scherzo-like romp with the orchestra, some of the most fun of Weber's writing for the clarinet.

The Concertino in E-flat is probably the most popular and enjoyable of the three concerto pieces. Written in one extended movement, the piece begins with a slow introduction in C minor, followed by a theme and variations pattern in the home key of E-flat. Capping it all off is a delightful, lilting 6/8 finale that is at once charming and technically impressive.

As for the quality of the recorded sound, I did not find it to be quite up to par with Delos' usual high quality recording standards; it sounds tinny at higher volumes and the orchestral sound lacks defining clarity. However, that does not drastically affect one's enjoyment of the album, and I find myself listening to it again and again, despite its flaws, and loving it every time.

Not being a clarinetist, I cannot fully appreciate this CD, but as a lover of music, I highly reccomend this well done recording. The clarity of the CD is fabulous, the orchestra is very impressive, and the clarinetist, David S., plays the Weber with a fiery intensity that I can not describe to its fullness through words. It is most definately worth purchasing.

von Weber: Clarinet Concertos:

Carl Maria Friedrich Ernst von Weber (1786-1826) was a German composer, conductor, pianist, guitarist, and one of the first significant composers of the Romantic period of classical music. He composed some significant clarinet music, which include 2 concertos, a concertino, quintet, and a duo concertant, thus greatly increasing the clarinet repertoire. He came up with the idea of the Konzertstuck format which provided a new model for the one movement concerto in several contrasting sections. This influenced Franz Liszt, Fredric Chopin, and Felix Mendelssohn in their respective writing styles to adapt to the Konzertstuck.

The clarinet repertoire owes much to three composers: Mozart, von Weber, and Brahms for their solo, chamber, and concertos. These hallmark compositions for the clarinet virtuosos in the times of these respective composers were written for specific players. Mozart drew his inspiration from Anton Stadler and started writing for him in 1789; Brahms was enamored with the tone and technique of Richard Muhlfeld, but Brahms was old when he met Muhlfeld in 1891. von Weber was more fortunate to meet Heinrich Joseph Baermann at a young age and developed a life long relationship. Both were equally gifted accomplished virtuosos von Weber on the piano and Baermann on the clarinet, in 1815 von Weber was working on the Grand Duo Concertant.

von Weber composed all three works recorded on this disc within a span of four months, March to July 1811. All because von Weber, along with Mendelssohn, both noted, that the virtuoso Baermann had an innate quality to use the natural tonal color of the clarinet, making it mimic the human singing voice.

Concerto for Clarinet and Orchestra No 2 in E flat Major, Op. 74 23:21

1. Allegro 9:20 begins in E-flat major

2. Romanza 7:24 begins in G minor

3. Alla Polacca 6:36 begins in E-flat major

Concerto for Clarinet and Orchestra No. 1 in F minor, Op. 73 21:48

1. Allegro 8:28 starting in F minor and modulating in A-flat major and returning again to F minor

2. Adagio ma non troppo 6:48 starting in C major transforming into A minor and returning again to C major

3. Rondo 6:31 in an Allegretto in F minor

Concertino for Clarinet and Orchestra in E flat Major, Op. 26 10:06

The principals are: David Shifrin, clarinet; David Golub, conductor; and the Orchestra di Padova e del Veneto

Total playing time is 55:15

I was impressed by technique exhibited by Shifrin in the E-flat Major Concerto as it is straight forward, but very demanding nature with complicated register leaps of 3 octaves in the first and second movements, but the virtuoso carried the concerto and shines in the third movement with a robust and rounded sound with syncopation and semi-quavers which are found in this concerto which Shifrin carries out well.

The F minor Concerto on the other hand is styled much differently and tonal color through varied is more on the dark mysterious bringing the haunting and mournful characteristics of the clarinet as the first movement opens, this is considered as the gem in the clarinet repertoire, but as the concerto wraps up the Rondo has a playfulness between the orchestra and the virtuoso. This is characteristic to that which Mendelssohn is known to write.

The concertino in E flat is one of the most popular pieces played today. It is written as one continuous movement and again wraps up well in the ending.

This is a Delos International 20 bit DDD recording so the definition between the soloist and the orchestra is well defined and balanced. You will have no trouble hearing the clarinet sing as von Weber intended, as Shifrin plays well throughout. This CD is well worth the purchase.

Very enjoyable to hear such a clear and mistake free musical instrument.

Thank David.

This latest release from Delos promises both to stun and to intrigue. The recording is yet another release of the Clarinet Concertos by Weber that falls very short of the musical mark. This recording falls short in many respects. The first striking blunder of the recording is the terrible orchestral sound in the introduction to the Second Concerto. It is remarkable how fowl the ensemble and balance is maintained. The woefullness is matched only by the entrance of the clarinet. David Shifrin who is known for his warmth and "bel canto" approach to the clarinet demonstrates throughout the recording poor intonation, sense of line, tonal beauty, and musical taste. To his credit, Shifrin is a clarinetist who can not be matched in the number of musical ideas, yet he seems here almost totally incapable of expressing them. Hopefully this is not a representation of the state of David Shifrins current musicianship. Golub and his band maintain a good balance with Shifrin throughout in maintaining the lowest musical stadards yet to be put on recording of the Weber Concerti. I would strongly recommend the Weber Concertos of Jon Manasse or Sabine Meyer as much better alternatives to this distrubing recording.