 The Clarinet BBoard
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Author: D Dow
Date: 2003-08-29 16:19
Juat when I thought players like Leister said all that could be said in this work I have just been floored by the recent Alessandro Carbonare Harmonia Mundi disc of this work...the attention to tone colour and nuance is simply amazing....
I now keep this record along side the Lesiter/Amadeus DG recording and my old DePeyer record...Who ealse out there has heard this fantastic recording?
Sincerely
David Dow
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Author: donald
Date: 2003-08-30 11:38
this was the first Carbonare CD i bought, back in 99.... since then i have hunted down all these CDs he did for Agora- quite difficult to get some of them too.... it's great, very fab playing (as were his live performances i was fortunate enough to see). I love his playing in the 1st mvt of the Mozart, and think the Brahms recording is stunning.
reccently a principal player in a major symphony was visiting and i played him a bit of Carbonare playing the Schumann Maerchenerzaehlungen, which didn't impress as i had expected it to. This just goes to show- we don't all like the same flavour icecream.
donal
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Author: Sylvain
Date: 2003-08-30 20:01
I have owned this recording for the past 2 years and is one of my favorites.
He is one of the few player who make me forget about the technical aspect of their playing. His tone and the way he changes the colour of the sound is simply amazing.
-Sylvain
donald wrote:
--
Sylvain Bouix <sbouix@gmail.com>
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Author: Alseg
Date: 2003-08-30 21:06
There are nice mp3s on the Carbonare website....excellent player
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Author: rbell96
Date: 2003-09-03 20:37
David,
Another recording I really enjoy is that of Ronal van Spaendonck with the Szymanowski Quartet.
It was a cover cd on a magazine! If you want I have several spares lying around I will post one to you?
Regards,
Rob
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Author: vin
Date: 2003-09-04 03:22
I love Carbonare's playing on the Brahms but there are several other recordings, Leister/Amadeus among them, that have far superior string playing.
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Author: jim S.
Date: 2003-11-21 17:03
You have prompted me to listen to Carbonare. I got the Opera CD. The finger technique is amazing, but the poor intonation in the slower passages spoils what should be beautiful stuff (IMHO).
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Author: D Dow
Date: 2003-11-24 12:50
One has to remember than Mr. Carbonare is tuning at 442 and judge pitch from there. As to the Quartet I am not happy with the interpretation on some of the syncopations in spots or their sense of style.
However, Carbonare is playing at alot higher pitch than our north american fellows and once the ears adjust it is his marvelous sense of colour and phrasing that win over the audience. He has an excellent intuitive grasp of the sound of the instrument.
Not since Bernard Walton has there been such an expressive exponent of the clarinet.
I certainly think Boeykens has superb technique but some players differ in terms of thoughts as to sound and tone --which to an average audience may not make such a difference.
If one can do the Brahms Quintet such justice than as a performer one can quible about matters of tone. There is a tendency in Europe to play on the higher side so doubtless this is an aspect which some find really hard to get over.
We also rarely in North America get a chance to hear European players very often and that is too bad.
As to other great records of the Brahms Quintet I have the Kell and Dave Glazer versions which are unbelievable. Wlach's record of it has some funny tuning too but incredible artistry!
David Dow
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Author: Tom Piercy
Date: 2003-11-24 15:31
RE: North Americans tuning at 440 and not 442.
This is not so across-the-board true any longer.
The NY Philharmonic now tunes at 442.
The pianos at Weill Recital Hall at Carnegie Hall and Isaac Stern Auditorium at Carnegie Hall are now tuned to A=442. I've played in both halls recently and was glad to know before hand the tuning of the pianos and could practice at home with 442 in mind and ear. Once in the halls, it only took a few minutes to adjust to the difference.
Tom Piercy
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Author: vin
Date: 2003-11-24 16:16
I have been told that the Chicago Symphony tunes at 442 (I know first hand that Chicago civic does) and I believe I read from their audition material that the St. Louis Symphony does as well.
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Author: donald
Date: 2003-11-24 18:53
hmmm, yes but i get the impresson US orchestras tend to tune a bit high (ie 442) then stay there, wheras european orchestras tune high then go a bit higher... i haven't actually done a survey or anything, so maybe i'm wrong.
donald
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Author: Liquorice
Date: 2003-11-24 21:05
Greg Smith told me that he plays A=440 in the Chicago Symphony and A=442 in some of his chamber ensembles.
"european orchestras tune high then go a bit higher"
Hey, Donald, that's quite a sweeping statement! In my orchestra (Zürich Opera House) we tune at A=442 and stay there!
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Author: Gregory Smith ★2017
Date: 2003-11-25 00:26
Sorry for the misunderstanding. It's the other way around.
CSO A=442, chamber ensembles generally A=440 (but more and more chamber groups at A=442).
Gregory Smith
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Author: Keil
Date: 2003-11-25 01:53
Where can i find the music for the Themes from "La Traviata" as played by Carbonare on his website?
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Author: jim S.
Date: 2003-12-06 04:24
I don't understand how a performer's tuning to 442 in itself would cause a listener to perceive certain notes to be sharp or flat in relationship to the rest of the piece, unless the listerner just had a tin ear.Keil wrote:
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Author: D Dow
Date: 2003-12-07 13:04
Carbonare's Brahms is certainly one of the finest integrated performances in terms of style and nuance. His control is amazing and the tempi and rubato are very well handled...dynamic shadings and colours are all marvelously done.
As to other interpretations I also like the Leopold Wlach disc, and remember Alfred Prinz with the Vienna Octet members having a superbly focused performance with incredible gusto....the gypsy thing in the 2cd movement is very well done on this one...
Carbonare reminds me a good deal of the old Boskovsky Decca lp which had the most glorious opening movement I can remember...
As to equipment Carbonare uses B40 pieces both the 13 and traditional series on both types of Vandoren reeds(blue box and grey).
Recently he has performed Solo Clarinet with the Berlin Philharmonic...so his playing is defintely in a league of it's own.
Another very fine clarinet player whom others should check is the other Berlin Phil solo clarinet, Wenzel Fuchs who has an incredible command of technique on the clarinet.
Carbonare has also recently worked with Vienna Octet as well. So it looks pretty good for Boehm clarinet players in Germany and Austria..
David Dow
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Author: GBK
Date: 2003-12-07 14:54
David...When I spoke to Stanley Drucker recently and asked him which clarinetists he enjoys listening to, if I remember correctly, the first one he named was Leopold Wlach. Wenzel Fuchs was also on his short list...GBK
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Author: D Dow
Date: 2003-12-07 19:18
GBK!
I have always loved the way Wlach phrased and his playing is really quite
something....
his recordings of the Clarinet Sonatas of Brahms really set the standard in the 50s....
he also did a super job with Karajan in Vienna of the Clarinet Concerto in 47 or 48.....I think you can find this on EMI Reference recordings....
Wenzel Fuchs record of the Reger is a truly fine performance...its on Naxos with a nice coupling of a Quartet by Reger...great performance of this as well....
Hope all is well
Happy Clarinetting!!
David Dow
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Author: D Dow
Date: 2003-12-08 13:03
Some Brahms recordings of the Quintet for Clarinet and Strings that others may like to look into are:
Gervase dePeyer with Melos on EMI
Walter Boeykens on Harmonia Mundi
Karl Leister on DG with the Amadeus in one of my personal favorites///
Thea King on Hyperion
Reginald Kell Historical disc...no sure the label..
Alfred Prinz on Eurodisc records
David Glazer on EMI
Philipe Cuper(quite nicely done).
David Dow
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