Clarinet Concertos dedicated to Benny Goodman

BIS: BISCD893

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Clarinet Concertos dedicated to Benny Goodman

Label:

BIS

Catalogue No:

BISCD893
(BIS-CD-893)

Discs:

1

Release date:

1st June 1998

Barcode:

7318590008935

Length:

58 minutes

Medium:

CD (download also available)
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Clarinet Concertos dedicated to Benny Goodman


Arnold:

Clarinet Concerto No. 2, Op. 115

Copland:

Clarinet Concerto

Hindemith:

Concerto for Clarinet and Orchestra


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Aaron Copland: Clarinet Concerto

I. Slowly and expressively

II. Rather fast

Paul Hindemith: Clarinet Concerto

I. Rather fast

II. Ostinato: Fast

III. Quiet

IV. Gay

Malcolm Arnold: Clarinet Concerto No. 2, Op. 115

I. Allegro vivace

II. Lento

III. The Pre-Goodman Rag: Allegro non troppo

Gramophone Classical Music Guide

2010

“All three of these concertos were written for Benny Goodman, but, not surprisingly, it's the Arnold work which most fully exploits his dedicatee's jazz background. The first movement is a typical Arnoldian scherzando, with an irrepressible Tam O'Shanter/Beckus the Dandipratt audacity.
Fröst and Lan Shui clearly relish its verve and energy, and then bring a seductive richness to the main theme of the slow movement. Yet they don't miss the plangent emotional ambivalence later, for there are characteristic moments of Arnoldlike darkness here too. The outrageous showstopper finale, with its rooty-tooty clarinet tune and orchestral whoops, also has a surprise up its sleeve in its sudden lyrical interlude; but one and all let their hair down for the boisterous reprise.
At the haunting opening of the Copland concerto, Martin Fröst's clarinet steals in magically on a half-tone. Lan Shui's sympathetic and flexible support contributes to a memorable performance of Copland's masterly first movement, with the coda gently fading into the cadenza.
The Hindemith concerto which follows produces a characteristic sinewy lyricism in the first of its four movements, with some nicely touched-in brass and woodwind comments.
Again Fröst cajoles the ear with his pliable line and the effect is unexpectedly mellow. With extremely fine recording and marvellous solo playing, this triptych will be hard to surpass.”

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