No. 213 of the ongoing ITYWLTMT series series of audio montages can be found in our archives at https://archive.org/details/pcast213 |
=====================================================================
A new year begins on our Friday Blog and Podcast with two
new offerings for January, a sort of mini-series of music in an intimate
setting – music for a few players.
On Tuesday, we began a look at the music Johannes Brahms
wrote for the clarinet, with a his two clarinet sonatas and his clarinet trio.
Today, we complete the set with his clarinet quintet – that is clarinet with
string quartet.
One of the earliest and most influential works for this
combination of instruments is Mozart's Quintet for Clarinet and Strings,
K. 581, written for the clarinetist Anton Stadler in 1789. Although a few
compositions for this ensemble were produced over the following years,
including the Op. 34 clarinet quintet by Carl Maria von Weber, a composer
famous for his solo clarinet compositions, it was not until Johannes Brahms
composed his Clarinet Quintet in B minor, Op. 115 for Richard Mühlfeld that the
clarinet quintet began to receive considerable attention from composers.
In a past podcast we provided a performance of
Mozart’s quintet, which was famously part of the final episode of the long-time
serial M*A*S*H. The Mozart quintet is often paired with Weber’s quartet – as
was the case on the disc I used for today’s performance by the all-Canadian
group formed of clarinetist James Campbell and the Orford String Quartet.
Brahms modeled his quintet after Mozart's. The piece is
known for its autumnal mood. The performance is a vintage CBC aircheck
recording featuring musicians of the Toronto Symphony.
British composer Samuel Coleridge-Taylor possessed both prodigious talent and refined musical
taste; it is worth observing that his composition teacher at the Royal
College of Music, Charles Villiers Stanford
regarded him as one of his two most brilliant students, the other being
Coleridge-Taylor’s friend William Yeates Hurlstone, who died at the age of
thirty in 1906. Stanford’s assessment of Coleridge-Taylor’s abilities
represents no mean accolade when one considers that he also taught, among many
others, Arthur Bliss, Frank Bridge, Gustav Holst, Herbert Howells, John
Ireland, E J Moeran and Ralph Vaughan Williams.
Coleridge-Taylor’s Clarinet
Quintet came about after Stanford’s comment to the effect that after Brahms
produced his Clarinet Quintet no one would be able to compose another that did
not show Brahms’ influence. Coleridge-Taylor took this as a challenge and
Stanford, on examining the result, remarked, ‘you’ve done it, me boy!’.
Stanford showed the piece to Brahms’ friend Joseph Joachim who shortly thereafter played it with colleagues
in Berlin.
In the character of the thematic
material and in the ways in which it is developed, the influence of Dvorák is
unmistakable. Coleridge-Taylor freely acknowledged his favourite composer to be
Dvorák, who was in turn a devotee of Schubert, whose inexhaustible spontaneity
Coleridge-Taylor almost matched. The influence of both these composers is
apparent in the quintet; it is a work of remarkable subtlety and
sophistication, rhythmically exuberant and complex, and uses the ensemble in an
integrated way that demonstrates the composer’s utter mastery of the genre.
Coleridge-Taylor’s Clarinet Quintet This is music of deep
sensibility that deserves to be part of this trio of like-minded works.
I think you will love this music too
No comments:
Post a Comment