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ウェーバー：クラリネット協奏曲第1番ヘ短調 Op.73 [Import]

5つ星のうち4.5 12
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曲目リスト

1 Clarinet Concerto No. 1 in F minor, J. 114 (Op. 73): I. Allegro

商品の説明

内容紹介

[商品番号:BIS SA-1523] [Import CD] [SACD Hybrid]

アーティストについて

Martin Frost, clarinet
Tapiola Sinfonietta, orchestra
Jean-Jacques Kantorow, conductor

登録情報

  • 製品サイズ ‏ : ‎ 14.91 x 12.6 x 1.09 cm; 102.06 g
  • メーカー ‏ : ‎ BIS
  • EAN ‏ : ‎ 7318599915234
  • オリジナル盤発売日 ‏ : ‎ 2006
  • SPARSコード ‏ : ‎ DDD
  • レーベル ‏ : ‎ BIS
  • ASIN ‏ : ‎ B000JRYMXA
  • ディスク枚数 ‏ : ‎ 1
  • カスタマーレビュー:
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Jonathan M.
5つ星のうち5.0 superbe
2017年1月8日にフランスでレビュー済み
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Superbe interprétation.
L'enregistrement est bon, quelques coup de percus font zingué certain système sur un ou deux passage puissant, mais rien de méchant.
Le jeux est parfait (j'ai tout de même étrangement pour Mr Frost relevé deux retombé note aiguë saut vers note basse pas super juste "la note grave module un peut") mais encore une foi rien de bien méchant, ça joue sublimement bien!
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Claudia Gasparrini Etheridge
5つ星のうち5.0 The Talent of Carl Maria Weber through the Sound of the Clarinet
2014年6月3日にアメリカ合衆国でレビュー済み
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This CD has most of Weber's works for clarinet. Composed during, or starting from, 1811 - the works are: (1) the Concerto no. 1, in F minor (described as a "gem in the instrument's repertoire"); (2) the Concerto no. 2 in E flat major; (3) the Concertino in E flat major, all for clarinet and orchestra; and (4) the Quintet in B flat major, for clarinet, two violins, viola and cello.
Weber's Grand Duo Concertante, and the Variations on a Theme for clarinet and piano - published posthumously - are not on the CD.
Many details regarding the quality of performance and other specialized information on the four pieces have been provided by reviewer (and no doubt professional musician) Christopher Farrell. As a music lover myself, nothing else, I could not write any additional data or comments of a similar nature. Besides, I was not familiar with the works until I listened to the CD, consequently I would be unable to judge its quality of performance, as compared to the quality originally meant by the composer. I did however find the music beautiful, some of it incredibly so, and would like to add a few words - of a less technical nature - on Carl Maria Weber and his work, and on the clarinet itself.
Carl Maria Weber (1786-1826) is generally known for composing the music of "Der Freischutz" - the first major romantic opera, as well as the first German "nationalist" opera. He is known for the piano piece in rondo form, "An Invitation to the Dance", orchestrated by Hector Berlioz in 1841. And he is known for being related to Mozart's wife, Constanze Weber. Less is known about the rest of his work, which includes two symphonies, a number of piano sonatas, ten operas (give or take one or two, more popular among them, Oberon and Euryanthe), church music, vocal work, and about 15 concerti, for piano, cello, bassoon and various other instruments.
Also probably not widely known is that Weber was the first prominent conductor to use the baton. Or that - when trying to use the baton to conduct his opera Oberon, at Covent Garden, in London (April 12 1826), the musicians misinterpreted his intentions. They believed that he might be holding an "intimidating" cane, rather than an instrument to mark the time and insure the synchronicity and correct dynamics of the various orchestral sounds. And yes, he did conduct the opera to the end without consequences other than the temporary uneasiness of the musicians.
The clarinet is a single reed instrument of the woodwind family whose roots date back to ancient Greece and Egypt, where comparable instruments were known as hornpipes. Early versions of the clarinet - for example, the albogue, the alboka, and the double clarinet - were used in Middle East and Europe during the Middle Ages.
The clarinet, as we know today, was still relatively new during Weber`s days, having been used only in moderation during the 18th century - for example, by Wolfgan Amadeus Mozart (1756-1791) who composed his three masterpieces for the instrument, that is the Kegelstatt Trio, The Clarinet quintet and the Clarinet concerto.
The clarinet was used to a greater extent during the 19th century, and by the time of Beethoven (c. 1800-1820), it was a regular constituent of the orchestra. But it remained relatively uncommon as a solo instrument, mostly because of the limited availability of good soloists. In addition to the artistic talent, required by any musician, good clarinetists need exceptional physical strength with lungs sufficiently robust to allow them to blow continuously for about twenty minutes. Very few have both.
Ease of physical exhaustion is the main reason why the use of wind instruments is limited in the slow second movement of many symphonic works: the musicians need an opportunity to catch their breath from the first movement and in preparation for the next movement.
Exceptionally strong, as well as artistically talented, clarinetists were not common, but they did exist and left their mark. In addition to Anton Paul Stadler (1752-1812), the Austrian clarinet and basset horn player for whom Mozart wrote the above mentioned works, talented players were:

- Heinrich Baermann (1784-1847). who performed works by Carl Maria von Weber, Felix Mendelssohn ( 1809-1847) and Giacomo Meyerbeer, (1791- 1864).
- Simon Hermstedt (1778-1846) who performed works by Carl Maria Weber and Louis Spohr (1778-1846).
- Richard Mühlfeld (1856 - 1907) who performed works by Johannes Brahms (1833-1897).
3人のお客様がこれが役に立ったと考えています
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huggy
5つ星のうち4.0 super-fröst
2013年2月24日にフランスでレビュー済み
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en voila une autre belle découverte de cet artiste (on a fait connaissance avec "encores")
la clarinette y trouve tout son dynamisme et tout son éclat. L'école nouvelle vague de clarinetistes norvegien glorifié.
qualité d'enregistrement superbe
rien à redire. juste à apprécier les yeux fermees
2人のお客様がこれが役に立ったと考えています
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Paul B
5つ星のうち3.0 Bland perfection.
2011年10月13日に英国でレビュー済み
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Beautifully played, fast speeds, smooth sound, what more could you want? Well a bit of character in these most showy of concertos would be nice.
You wouldn't imagine that anyone could make these extrovert, operatic pieces sound so unremittingly boring, but this is exactly what Frost manages to do. He can probably play this difficult music standing on his head and it shows.
If you like a bit of character, and a touch of danger in the dazzling semiquaver passages, then look elsewhere.
The 'Devil-may-care' Emma Johnson is still the best I've heard with her absolutely joyful approach, or Anthony Pay with period instruments is also far better than this.
The sound quality is very good though.
7人のお客様がこれが役に立ったと考えています
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C.S.
5つ星のうち5.0 Bon article
2019年3月17日にフランスでレビュー済み
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Bon enregistrement
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