Cape Philharmonic Orchestra - Spohr: Complete Clarinet Concertos (2013)
BAND/ARTIST: Cape Philharmonic Orchestra
- Title: Spohr: Complete Clarinet Concertos
- Year Of Release: 2013
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:38:48
- Total Size: 420 mb
- WebSite: Album Preview
Tracklist
01. Concerto No. 1 in C Minor, Op. 26: I. Adagio - Allegro
02. Concerto No. 1 in C Minor, Op. 26: II Adagio
03. Concerto No. 1 in C Minor, Op. 26: III. Rondo. Vivace
04. Concerto No. 4 in C Minor: I. Allegro vivace
05. Concerto No. 4 in C Minor: II. Larghetto
06. Concerto No. 4 in C Minor: III. Rondo al espagnol
07. Concerto No. 2 in E-Flat Major, Op. 57: I. Allegro
08. Concerto No. 2 in E-Flat Major, Op. 57: II. Adagio
09. Concerto No. 2 in E-Flat Major, Op. 57: III. Rondo alla polacca
10. Concerto No. 3 in F Minor: I. Allegro moderato
11. Concerto No. 3 in F Minor: II. Adagio
12. Concerto No. 3 in F Minor: III. Vivace non troppo
During his lifetime, Louis Spohr was considered to be an iconic musical figure of the era: he was hailed as a leading composer, worthy of the stature of Haydn, Mozart and Beethoven, and was also a celebrated and accomplished violinist and conductor. Furthermore, he was a remarkable innovator who was responsible for many new concepts that today's musicians take for granted – he invented the chinrest, was one of the first conductors to use a baton, and introduced rehearsal numbers to scores. This pioneering spirit is reflected in Spohr's works, which, although they are rooted in the Classical tradition, also anticipate the formal and harmonic experimentation and programmatic writing associated with Romanticism.
Indeed, Spohr's First Clarinet Concerto played a significant role in the development of the instrument. All four concertos were written for the brilliant clarinettist and Spohr's great friend Johann Simon Hermstedt – when the First Concerto turned out to be unplayable on existing clarinets at the time due to its range and difficulty, Hermstedt decided to adapt the clarinet and extend its number of keys from five to thirteen! The virtuosic writing in these concertos certainly exploits the clarinet's potential to the full, but they also demonstrate Spohr's capacity for intense expression – as heard, for example, in the turbulent opening movement of the Third Concerto – and beautiful lyricism, which comes to the fore in the song-like Adagio of the First Concerto.
Spohr's complete clarinet concertos are performed by Maria du Toit, who is hailed as one of South Africa's most important clarinettists and has won praise from eminent conductor Theodore Kuchar for her “wide-ranging musical imagination and technical assuredness”. Her most recent solo album, Luminous Shade, was nominated for a South African Musical Award.
01. Concerto No. 1 in C Minor, Op. 26: I. Adagio - Allegro
02. Concerto No. 1 in C Minor, Op. 26: II Adagio
03. Concerto No. 1 in C Minor, Op. 26: III. Rondo. Vivace
04. Concerto No. 4 in C Minor: I. Allegro vivace
05. Concerto No. 4 in C Minor: II. Larghetto
06. Concerto No. 4 in C Minor: III. Rondo al espagnol
07. Concerto No. 2 in E-Flat Major, Op. 57: I. Allegro
08. Concerto No. 2 in E-Flat Major, Op. 57: II. Adagio
09. Concerto No. 2 in E-Flat Major, Op. 57: III. Rondo alla polacca
10. Concerto No. 3 in F Minor: I. Allegro moderato
11. Concerto No. 3 in F Minor: II. Adagio
12. Concerto No. 3 in F Minor: III. Vivace non troppo
During his lifetime, Louis Spohr was considered to be an iconic musical figure of the era: he was hailed as a leading composer, worthy of the stature of Haydn, Mozart and Beethoven, and was also a celebrated and accomplished violinist and conductor. Furthermore, he was a remarkable innovator who was responsible for many new concepts that today's musicians take for granted – he invented the chinrest, was one of the first conductors to use a baton, and introduced rehearsal numbers to scores. This pioneering spirit is reflected in Spohr's works, which, although they are rooted in the Classical tradition, also anticipate the formal and harmonic experimentation and programmatic writing associated with Romanticism.
Indeed, Spohr's First Clarinet Concerto played a significant role in the development of the instrument. All four concertos were written for the brilliant clarinettist and Spohr's great friend Johann Simon Hermstedt – when the First Concerto turned out to be unplayable on existing clarinets at the time due to its range and difficulty, Hermstedt decided to adapt the clarinet and extend its number of keys from five to thirteen! The virtuosic writing in these concertos certainly exploits the clarinet's potential to the full, but they also demonstrate Spohr's capacity for intense expression – as heard, for example, in the turbulent opening movement of the Third Concerto – and beautiful lyricism, which comes to the fore in the song-like Adagio of the First Concerto.
Spohr's complete clarinet concertos are performed by Maria du Toit, who is hailed as one of South Africa's most important clarinettists and has won praise from eminent conductor Theodore Kuchar for her “wide-ranging musical imagination and technical assuredness”. Her most recent solo album, Luminous Shade, was nominated for a South African Musical Award.
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