Spohr: Clarinet Concerto No. 2 in E flat, Op. 57

“In style [Manasse] is an arch-romantic in his interpretations of both these concertos...[his] shading of dynamic is most beautiful with a breathtaking pianissimo in the reprise of the main theme in the slow movement for the Mozart, leading to a sparkling account of the finale.” Gramophone Magazine, July 2010

“…Sabine Meyer makes light of the considerable difficulties of Spohr's Fourth Concerto with soft-grained and wonderfully even tone; Julian Bliss is technically impressive and only slightly less characterful in the Second.” BBC Music Magazine, Proms 2007 ****

“Spohr… by his own admission, when he started knew nothing about the clarinet apart from its range… But the results… were splendid… No 2 in C minor, colourfully played by Julian Bliss, is full of instrumental invention, pitting the clarinet against some highly original effects and so requiring much care in balance as well as finger dexterity. No 4 is musically a more substantial work... Sabine Meyer takes it with proper seriousness, and makes out a case for this as perhaps the strongest of all Spohr's clarinet concertos.” Gramophone Magazine, September 2007

‘An outstanding disc, excellently recorded’ (BBC Music Magazine)

“…the first two of his four concertos for the clarinettist Johann Simon Hermstedt… well worth hearing: they’re imaginatively constructed and full of graceful melody, as well as being true virtuoso showpieces. Michael Collins effortlessly surmounts all their technical difficulties... with incisive attack, wonderfully liquid arpeggios and complete control even up to (sounding) top B flats...” BBC Music Magazine, June 2005 *****

“The memorable opening C minor theme of the First Clarinet Concerto (1809) has a Beethovenian contour, yet the solo roulades which follow suggest the minor key is not to be taken too seriously.
The work, like its companion, was commissioned by the clarinet virtuoso Johann Hermstedt, who adapted his instrument for the music, adding five extra keys! It is a fine piece with a lovely Adagio to remind us that Mozart's Quintet was Spohr's inspiration. The charming finale lollops along engagingly.
The Second Concerto, written a year later, is distinctly galant in the jaunty Hummelian march theme which dominates the first movement. The eloquent Adagio is unashamedly operatic, with characteristic turns in the melodic line, but the highlight is the Polacca finale, opening neatly with a solo timpani flourish answered by the horns.
This gives Michael Collins wonderful opportunities for a spirited bravura display that invites a smile of pleasure, as do his fluid, lyrical line and lovely tone and phrasing throughout.
The Potpourri opens invitingly on the horns but is no medley. Instead it centres on two themes, the second with a set of variations, offering more bravura fireworks, clearly relished here. The Variations are very much in the same vein. An outstanding disc, excellently recorded.” Gramophone Classical Music Guide, 2010

“an artist of advanced musicianship allied to absolute technical command - a combination that's the preserve of few.” Gramophone Magazine, November 2012

“Meyer seems largely attuned to the solo parts edited by Stanley Drucker...[he] plays and conducts...assertive or pliant in his role from the rostrum. The conductor in Meyer is very good, the soloist fabulous. Not only does he disdain formidable obstacles, he brings shape, strength and the beauty of entrancingly hushed enunciation to a whole range of Spohr's writing.” Gramophone Magazine, November 2012