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Lutoslawski, Nielsen, Prokofiev / Stoltzman, Leighton Smith
Richard Stoltzman's continuing exploration of the clarinet repertoire has yielded some uniquely enjoyable concerto recordings for RCA, of which the current issue is just the latest example. The disc opens with Lutoslawski's Dance Preludes, a brilliant and lively work of highly varied moods and styles ranging from somber chant to frenzied dancing. Stoltzman sounds as comfortable in each of these witty preludes as he would playing Mozart or Gershwin.
Nielsen's concerto always has been a formidable challenge for clarinetists, and, through its discursive one-movement form, for the listener as well. Happily, Stoltzman's pointed shaping of the musical material aids in the recognition of the various melodic lines, while his freewheeling virtuosity consistently commands attention. Still, Olle Schill's stunningly recorded daredevil performance on BIS remains the Nielsen concerto of choice.
Probably the most interesting item on the program is Kent Kennan's recasting of Prokofiev's Flute Sonata as a concerto for clarinet and orchestra. Kennan succeeds admirably in approximating a real Prokofiev orchestral sound and his arrangement sheds new light on the work's subtle beauties. Indeed the finale, with its judicious use of timpani, seems to improve upon the original. Stoltzman certainly sounds convinced, and you can appreciate in his performance that sense of satisfaction at discovering a new classic. Lawrence Leighton Smith and the Warsaw Philharmonic provide handsomely played and truly collaborative accompaniments. RCA's recording is rather flat in perspective, but allows all of Stoltzman's infectious playing to be clearly heard. A desirable disc, and not just for clarinet fans.
--Victor Carr Jr, ClassicsToday.com
Nielsen's concerto always has been a formidable challenge for clarinetists, and, through its discursive one-movement form, for the listener as well. Happily, Stoltzman's pointed shaping of the musical material aids in the recognition of the various melodic lines, while his freewheeling virtuosity consistently commands attention. Still, Olle Schill's stunningly recorded daredevil performance on BIS remains the Nielsen concerto of choice.
Probably the most interesting item on the program is Kent Kennan's recasting of Prokofiev's Flute Sonata as a concerto for clarinet and orchestra. Kennan succeeds admirably in approximating a real Prokofiev orchestral sound and his arrangement sheds new light on the work's subtle beauties. Indeed the finale, with its judicious use of timpani, seems to improve upon the original. Stoltzman certainly sounds convinced, and you can appreciate in his performance that sense of satisfaction at discovering a new classic. Lawrence Leighton Smith and the Warsaw Philharmonic provide handsomely played and truly collaborative accompaniments. RCA's recording is rather flat in perspective, but allows all of Stoltzman's infectious playing to be clearly heard. A desirable disc, and not just for clarinet fans.
--Victor Carr Jr, ClassicsToday.com
Richard Stoltzman's continuing exploration of the clarinet repertoire has yielded some uniquely enjoyable concerto recordings for RCA, of which the current issue is just the latest example. The disc opens with Lutoslawski's Dance Preludes, a brilliant and lively work of highly varied moods and styles ranging from somber chant to frenzied dancing. Stoltzman sounds as comfortable in each of these witty preludes as he would playing Mozart or Gershwin.
Nielsen's concerto always has been a formidable challenge for clarinetists, and, through its discursive one-movement form, for the listener as well. Happily, Stoltzman's pointed shaping of the musical material aids in the recognition of the various melodic lines, while his freewheeling virtuosity consistently commands attention. Still, Olle Schill's stunningly recorded daredevil performance on BIS remains the Nielsen concerto of choice.
Probably the most interesting item on the program is Kent Kennan's recasting of Prokofiev's Flute Sonata as a concerto for clarinet and orchestra. Kennan succeeds admirably in approximating a real Prokofiev orchestral sound and his arrangement sheds new light on the work's subtle beauties. Indeed the finale, with its judicious use of timpani, seems to improve upon the original. Stoltzman certainly sounds convinced, and you can appreciate in his performance that sense of satisfaction at discovering a new classic. Lawrence Leighton Smith and the Warsaw Philharmonic provide handsomely played and truly collaborative accompaniments. RCA's recording is rather flat in perspective, but allows all of Stoltzman's infectious playing to be clearly heard. A desirable disc, and not just for clarinet fans.
--Victor Carr Jr, ClassicsToday.com
Nielsen's concerto always has been a formidable challenge for clarinetists, and, through its discursive one-movement form, for the listener as well. Happily, Stoltzman's pointed shaping of the musical material aids in the recognition of the various melodic lines, while his freewheeling virtuosity consistently commands attention. Still, Olle Schill's stunningly recorded daredevil performance on BIS remains the Nielsen concerto of choice.
Probably the most interesting item on the program is Kent Kennan's recasting of Prokofiev's Flute Sonata as a concerto for clarinet and orchestra. Kennan succeeds admirably in approximating a real Prokofiev orchestral sound and his arrangement sheds new light on the work's subtle beauties. Indeed the finale, with its judicious use of timpani, seems to improve upon the original. Stoltzman certainly sounds convinced, and you can appreciate in his performance that sense of satisfaction at discovering a new classic. Lawrence Leighton Smith and the Warsaw Philharmonic provide handsomely played and truly collaborative accompaniments. RCA's recording is rather flat in perspective, but allows all of Stoltzman's infectious playing to be clearly heard. A desirable disc, and not just for clarinet fans.
--Victor Carr Jr, ClassicsToday.com
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-65%Lutoslawski, Nielsen, Prokofiev / Stoltzman, Leighton Smith—
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Richard Stoltzman's continuing exploration of the clarinet repertoire has yielded some uniquely enjoyable concerto recordings for RCA, of which the current issue is just the latest example. The disc opens with Lutoslawski's Dance Preludes, a brilliant and lively work of highly varied moods and styles ranging from somber chant to frenzied dancing. Stoltzman sounds as comfortable in each of these witty preludes as he would playing Mozart or Gershwin.
Nielsen's concerto always has been a formidable challenge for clarinetists, and, through its discursive one-movement form, for the listener as well. Happily, Stoltzman's pointed shaping of the musical material aids in the recognition of the various melodic lines, while his freewheeling virtuosity consistently commands attention. Still, Olle Schill's stunningly recorded daredevil performance on BIS remains the Nielsen concerto of choice.
Probably the most interesting item on the program is Kent Kennan's recasting of Prokofiev's Flute Sonata as a concerto for clarinet and orchestra. Kennan succeeds admirably in approximating a real Prokofiev orchestral sound and his arrangement sheds new light on the work's subtle beauties. Indeed the finale, with its judicious use of timpani, seems to improve upon the original. Stoltzman certainly sounds convinced, and you can appreciate in his performance that sense of satisfaction at discovering a new classic. Lawrence Leighton Smith and the Warsaw Philharmonic provide handsomely played and truly collaborative accompaniments. RCA's recording is rather flat in perspective, but allows all of Stoltzman's infectious playing to be clearly heard. A desirable disc, and not just for clarinet fans.
--Victor Carr Jr, ClassicsToday.com
Nielsen's concerto always has been a formidable challenge for clarinetists, and, through its discursive one-movement form, for the listener as well. Happily, Stoltzman's pointed shaping of the musical material aids in the recognition of the various melodic lines, while his freewheeling virtuosity consistently commands attention. Still, Olle Schill's stunningly recorded daredevil performance on BIS remains the Nielsen concerto of choice.
Probably the most interesting item on the program is Kent Kennan's recasting of Prokofiev's Flute Sonata as a concerto for clarinet and orchestra. Kennan succeeds admirably in approximating a real Prokofiev orchestral sound and his arrangement sheds new light on the work's subtle beauties. Indeed the finale, with its judicious use of timpani, seems to improve upon the original. Stoltzman certainly sounds convinced, and you can appreciate in his performance that sense of satisfaction at discovering a new classic. Lawrence Leighton Smith and the Warsaw Philharmonic provide handsomely played and truly collaborative accompaniments. RCA's recording is rather flat in perspective, but allows all of Stoltzman's infectious playing to be clearly heard. A desirable disc, and not just for clarinet fans.
--Victor Carr Jr, ClassicsToday.com
