 The Clarinet BBoard
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Author: Paula S
Date: 2013-01-28 16:02
‘Swing Low Sweet Clarinet’ Reginald Kell ( 2005) on the Clarinet Classics label and ‘English Fantasy’ Peter Cigleris/Antony Gray(2013) Cala Records ,have recently been added to my collection. Both are rapidly becoming firm favourites although they are essentially very different.
The Kell CD is worth buying alone just for the fascinating biography by Stephen Trier/ Malcolm McMillan which is included in the CD sleeve notes and extends to 14 ‘pages’. The tracks have been remastered from old 78s of Kell’s ‘light music’ and retain their charm and character but also make it easier to hear what Kell actually sounded like. Don’t try and play along with them though as they are about 30% out of tune which is to be expected with old recording techniques.
Most of the tracks were recorded in the 1950s and reflect influences not just from the UK and the USA but from Europe too. The type of music required for films/shows by the big studios clearly features. As the CD is a compilation Kell plays with many different orchestras/bands including the BBC Salon Orchestra, Salvador Camarata and his Orchestra and the Ambrose Orchestra. It is interesting from his biography that he never fully settled in the UK or the US and spent his life moving between the two. Some of the early tracks are from his work in the UK with many others included from his work in the US.
For a wonderful sunny day feeling even in the depths of the British winter, the ‘Pied Piper’ by Walter Mourant just blows the cobwebs away. There are several charming Mourant tracks but strangely enough the title track ‘Swing Low Sweet Clarinet’ is just a bit too saccharin for my taste. It is fascinating to read that Kell did not have sight of these pieces until the actual recording sessions! The Kreisler Viennese pieces are not usually amongst my favourites but these are played with such elegance and a light touch, that they just charm your socks off. There are also several dreamy Debussy pieces which have been sensitively arranged and are soulfully played.
A clearer recording reveals the depth of tone beneath Kell’s signature vibrato. MacMillan suggests that ‘there is a soulfulness in his basic tone and playing ; it’s as though the vibrato and rubato are secondary , even overlaid’. I like to think of the character of his playing being like a very fine champagne with a wonderful wine lying beneath the elegant and sophisticated fizz.
There are many wonderful anecdotes in the biographical notes and you almost get that feeling of being a fly on the wall. The influence of Kell’s playing on others is evident in the biography and the music. The influence on Benny Goodman is well known and I cannot listen to Jack Brymer , Charles Neidich or Jonathan Cohler without thinking of Kell. The reference to Kell, Thurston, Brymer and Lear playing together in the London Philharmonia under the baton of Richard Strauss is fascinating and one can only imagine what an experience that must have been.
To my ears the style of Frederick Thurston is very different to the other aforementioned players which leads me on to another favourite CD. ‘English Fantasy’ Peter Cigleris/Antony Gray. From the outset it is clear that this is an excellent partnership of clarinettist and pianist.
Although Peter has his own distinctive style, some aspects of his playing remind me of Frederick Thurston’s. Having likened Kell to champagne, I would associate this style with a fine claret ( I am not an alcoholic ... honestly! ). There is a real fullness and depth of character to his tone and it is beautifully crafted and as smooth as silk. There are unique inflexions which shape the phrases and effortless precision across the whole range of the clarinet.
The CD comprises of 20th Century British lyrical works by Ireland, Alwyn, Armstrong Gibbs, Carmichael and Jenkins. The stand out track for me is the Ireland Fantasy Sonata: A piece I love and one that is not performed as often as it should be. It was written for Frederick Thurston and reminisces on the second world war as loved ones parted with the possibility of never seeing each other again. The dream-like escapism is contrasted against the underlying harsh reality of the fighting and loss. Peter really captures the mood in the dream-like opening and there is real fire and a thrilling sense of the sinister in the climatic ending. The leaps and pyrotechnics are beautifully controlled and the varied tone palette conveys a broad range of emotions. On reflection, I think Frederick Thurston and John Ireland would be very pleased with this wonderful interpretation.
The Alwyn Sonata for me is a much darker fantasy. It was written for Thea King who was Frederick Thurston’s wife. It is very virtuosic for both clarinettist and pianist who admirably meet the challenge and are in perfect step with each other.
The Fete Champetre (Carmichael) is delightful and feels to me is like a musical interpretation of Peter Mayle’s book ,’ A Year in Provence’ or the Englishman abroad. There are four movements which contain more than a ‘nod’ in the direction of Debussy and Ravel. Also the influence of 15th and 16th century dance can be felt in the Passepied and Rigadoun .The Rigadoun is a wonderfully uplifting piece played with real sense of vitality and mischief. I can imagine the folks listening, launching themselves energetically into a ‘pointy footed dance’ .
In the Jenkins ‘5 pieces’ the Molto Allegro is a real favourite and shows off the most wonderful fingerwork. Maybe if I practice for a 100 years, I might get slightly nearer!
The ‘Shadow Dance’ is one of 3 Pieces by Cecil Armstrong Jones and is mysterious, stealthy and beautifully articulated.
I think I will be listening to this CD and this hugely talented clarinettist for many years to come!
http://www.calarecords.com/acatalog/info_CACD77015.html
Post Edited (2013-01-28 16:05)
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