Author: Philip Caron
Date: 2007-08-26 22:47
I also highly enjoy some recordings of Martin Frost, especially in newer works such as the Aho Concerto, which is an amazing performance of a fine work, one wherein extended techniques emphasize musical ideas well. For me, it was that performance that was the best part of the cd, not the Nielsen Concerto, which itself was excellent technically and not a bad interpretation - though I think it (the Nielsen) could be made still more powerful emotionally.
Another cd showing Frost playing modern works in great style is titled Close Ups. There's some really wild things there, and he has great control over his instrument, as evidenced by numerous incredible wails (which I wish I knew how to do) and solid multiphonics. He also seems to have a fast single-tongue staccato and a well developed double-tongue, though I think that which is being used is often audible.
However, a recording I heard of a radio broadcast containing a Brahms sonata rubbed me mildly the wrong way in terms of musical choices. I'm all for varied interpretations if the illuminate something about the music for me, but some spur of the moment choices, such as often occur in good performances, don't come out so well, especially when played back. Worse, sometimes performers do something just to be different, without considering how well it fits into the work and the setting.
I became suspicious of Frost's motives (or possible lack of) after a second hearing, especially some of his varying of dynamics & accents in answering phrases, or of altering articulations - in some cases these seemed to me to undercut the strengths of the passages they were used in.
However, please understand this critique as a flea criticizing a giant. Martin Frost is the most interesting young clarinettist I've been hearing, and I'd love to play anything 1/10th as well as he does.
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The Clarinet BBoard
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