Klarinet Archive - Posting 000165.txt from 2002/10

From: Tom.Henson@-----.com
Subj: RE: [kl] Brahms Clarinet Sonata No. 2
Date: Fri, 4 Oct 2002 10:42:59 -0400

Thanks Gene, Kelly, Roger, and Jim on your comments and suggestions.

I feel like all of you, that listening to a master recording can enlighten
you on many things and give you a goal to reach for.

The three recordings that I have are as follows if anyone is interested.

The Magic of the Clarinet (compilation of various artists). Paul Meyer plays
the third and fourth movement from Sonata no. 1 and the first movement from
no. 2. This is on the Erato label and is available from Amazon or Barnes and
Noble (where I bought it). This cd also has works performed by Walter
Boykins, Paul Meyer (other works), Jacques Lancelot, and Antony Morf (not
sure who he is).

The second cd is titled: Brahms: The Complete String Quartets - The complete
Clarinet Sonatas. This is on the Phillips label and is a 2 cd set. I bought
this from Barnes and Noble online. The quartets are performed by Quartetto
Italiano and George Pierterson performs the sonatas. I also found in the
Klarinet archives where George plays on a Reform Boehm by Wurlizter. I
thought his sound was more French than German. He plays the sonatas
beautifully with very tasteful vibrato.

The third cd is titled: Brahms: Clarinet Trio, Op. 114 - Clarinet Sonatas,
Op. 120. Karl Leister performs with Ferenc Bognar on piano and Wolfgang
Boettcher on cello. This CD was hard to get and is on the Nimbus Records
label. I ordered it through Barnes and Noble as they had it listed, but they
ended up having to order it direct from England where it is made. This
recording is fairly recent for Leister being made in 1997 in Berlin. The
liner notes are by Colin Lawson and are very good. He not only gives
background about Brahms and when it was written, but he goes into great
detail about Richard Muhlfeld for whom they were written. Colin writes that
Muhlfeld "Was an individual clarinettist with a powerful delivery,
apparently incorporating liberal use of vibrato. This is all the more
plausible in view on his background as a violinist." According to the notes
on Muhlfeld's background, he actually joined the Meiningen court orchestra
as a violinist originally and later playing the clarinet. Interesting. Colin
also says that Brahms gave the original manuscripts to Muhlfeld as a gift in
great appreciation of his playing.

I'm going to do a search on the Harold Wright recording that was mentioned a
couple of times as one of the best and see what I can find. I'll let you all
know if I find anything. Perhaps I can find it used somewhere if it is out
of print as Kelly mentioned.

I find Jim's comments about intonation particularly important as I have
found there is no room for bad intonation in the scoring and there is
certainly no where to hide. The fact that so much of the piece is around the
break and incorporates many throat tones makes it all the more difficult and
important to play precisely in tune. Fortunately, my clarinet is blessed
with some of the clearer throat tones that I have heard on a Buffet. I'm
curious if using a Reform Boehm or a German system would make playing over
the break any easier as far as intonation and clarity of sound?

Tom Henson

Jim Hill commented below:

<< I am fortunate to own the beautiful recording of the Brahms sonatas with
Harold Wright, Harris Goldsmith, Piano (MHS1496). I also own an old LP
(Boston Records B-214) with Gino Cioffi and Ralph Berkowitz, piano. This
recording has the Brahms 2nd sonata as well as the Brahms Op. 114. Mr.
Cioffi was principal in Boston during the 50's and this recording is quite
flawed with intonation problems.

Jim Hill >>

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