Klarinet Archive - Posting 000562.txt from 1995/03

From: "Michael A. Cassara" <michael.cassara@-----.COM>
Subj: Franklin Cohen and the Copland
Date: Thu, 23 Mar 1995 14:16:00 -0500

Hi gang,
I just returned from a Cleveland Orchestra concert with Franklin Cohe=
n
soloing. He played an incredible rendition of the Aaron Copland Clar=
inet
Concerto. He has the best tone I have ever heard (live, at least).
I enjoyed his interpretation because of its creativeness. He took th=
e first
part of the Concerto faster than it is normally played yet he was abl=
e to=20
play with an extrordinary feeling.
The unaccompanied cadenza was purely flawless. Showing off h=
is =20
tecnique and beautiful sound, he captured the melodic essence of the=
=20
cadenza. His use of vibrato as a means of dignity through playing=
=20
added flavor to the melody.
The last part of the piece was played so incredibly good it is hard=
=20
to describe it with words. Led by guest conductor Antonio Pappano, m=
usical
director of the Th=E9=E2tre Royal de la Monnaie in Brussels, the CO s=
ounded=20
incredible. On his debut with the CO, Pappano has left his mark on=
=20
Severance Hall and hopefully he will return again.
Before Cohen took the house down, the Orchestra did a "not so=20
shabby" performance of Brittens 4 Sea Interludes (Op. 33a) and Passac=
aglia
(Op. 33b) from Peter Grimes. Afterwards they did Strauss' Also sprac=
h
Zarathustra (Op. 30). =20
All I can do is quote Pappano from his pre concert lecture: =20
"Franklin Cohen is a singer, he sings with his clarinet, and very wel=
l too"

Sincerely,
Michael A. Cassara, Cleveland, Ohio

By the way, if roomer is true they are recording the Copland for a wi=
nter=20
release!!!
=20
=20