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Works for Clarinet Original recording remastered


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Audio CD, Original recording remastered, October 21, 2003
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Samples
Song TitleArtist Time Price
  1. Three Clarinets, Cello and PianoCarol Robinson, Pierre Dutrieu, Olivier Voize, Elena Andreyev & Vincent Leterme 9:29Album Only
  2. Bass Clarinet and PercussionCarol Robinson, Françoise Rivalland & Peppie Wiersma17:21Album Only
  3. Clarinet and String QuartetCarol Robinson & Quatour Diotima42:21Album Only

Product Details

  • Performer: Vincent Leterme, Carol Robinson
  • Composer: Morton Feldman
  • Audio CD (October 21, 2003)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Mode
  • ASIN: B000087J96
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #352,733 in Music (See Top 100 in Music)

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15 of 15 people found the following review helpful By Sparky P. on October 8, 2004
Format: Audio CD
This disc presents the three major works featuring clarinet, one from the seventies, two from the eighties. Throw in 1962's brief "Two Pieces for Clarinet & String Quartet" (not on this recording but found on hatArt's Clarinet & String Quartet release, out of print, again well worth seeking out) and you have all of Feldman's works highlighting clarinet/bass clarinet.

The earliest piece here is "Three Clarinets, `Cello and Piano", dated 1971. This piece explores two simple contrasts: the soft attacks of the clarinet and `cello (when bowed) long tones and hard attacks of the piano and `cello (when plucked). Even occasionally are there some loud notes and "swelling dynamics" (crescendos and decrescendos), but otherwise, it's very soft the rest of the way (of course).

"Bass Clarinet & Percussion" was written in 1981, as Feldman was writing mostly extended length pieces, but this is a very compact eighteen minutes (Webernian proportions in comparison!). This is a definite exercise of shadows and fog, of stasis and variation. At the start the bass clarinet plays a recurring melody (the very same line that begins "Why Patterns" and a few other works written at that time) that will reappear in different registers, then with octave displacements of certain notes. Of the four known recordings of "Bass Clarinet & Percussion" (as of this writing), this performance is the best I have thus far heard. The high tympani parts sound very clean and in tune, not just sounding closer to high tom-tom. (In the last pages, one percussionist is playing a kettledrum tuned to A on the top line of the bass clef; the second percussionist plays another kettledrum tuned a major second lower to G and the bass clarinetist cuts in between the two with an A flat.
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