This is the second and last volume of Xavier Lefèvre's
complete progressive sonatas from his influential Méthode
de Clarinette, submitted to and published by the Paris Conservatoire
in 1802. Both this and Volume 1 (CC0055), which comprised all
the odd-numbered sonatas, are first recordings with Lefèvre's
preferred instrumentation - C clarinet with basso continuo -
in historically informed performances. The C clarinet fell out
of fashion primarily because of its tone, which is slightly
strident in the higher register, muddy in the lower - in any
case, noticeably different from the modern standard orchestral
instruments in B flat or A, and attractive in a more arcane
way.
Xavier Lefèvre - sometimes referred to using his first
name proper, Jean, and/or with a separated surname with acute
accent - Le Févre - was a very conservative composer;
in some respects less a composer than a clarinettist and pedagogue
who wrote music to elaborate his teachings.
Such is the case with the Sonatas featured here: Lefèvre's
innovations lay in technique, rather than music. The works are
not, therefore, imbued with grand artistic imagination or insight
into the human condition. But beyond their obvious pedagogic
value, there is lovely melody, elegance, wistfulness, restraint
and humour in abundance, culminating in the delightful, memorable
Theme and Variations finale of Sonata no.12, and all in accordance
with the principles Lefèvre expounded in his far-reaching
Method. These are not then full-blooded sonatas, 19th century
style - the cello's role is almost entirely supportive, providing
extra colour and texture; cellist Sebastian Comberti has to
wait until the last few minutes of the last movement of that
last sonata for a share of the spotlight!
In the liner notes for Volume 1, clarinettist Colin Lawson,
possibly a kind of latter-day Lefèvre as Director of
the Royal College of Music and widely published authority on
the clarinet, as well as an outstanding period instrumentalist,
gives insightful notes regarding the best way to play Lefèvre
today. He says that it is easy for them to sound too heavy or
thick, and even Lefèvre warned pupils of the danger of
monotony if not enough attention was paid to tone and articulation.
In Lawson's words: "Above all, the character of each movement
must be portrayed through small-scale phrasing and articulations
to illuminate the cantabile line [...] A simple cello accompaniment
is much preferable to any of the available piano realisations
that introduce extra and often inappropriate material for the
right hand." On the other hand, performers must make their own
choices regarding dynamics and judicious ornamentation, particularly
in the low-numbered sonatas - and Lawson's decisions seem entirely
in keeping with the spirit of Lefèvre's pedagogy.
Sound and production quality are very good. The CD booklet is
concise but informative, and easy on the eye. For Volume 1 Clarinet
Classics made available the sheet music for the sonatas, more
than half of which had not been published since 1802 - the music
is free to download in PDF format, one file per Sonata, from
their website
- no purchase necessary. Pages on the site beyond the homepage
have user-unfriendly URLs, but a simple search using any of
the catalogue details for Volume 1 given in this review will
quickly turn up the relevant page. Clarinet Classics will make
the sheet music for Volume 2 Sonatas available soon.
This is the second CD of early clarinet sonatas by Lefèvre
released in the last few months - for the Tudor issue featuring
Eduard Brunner (see review).
With luck, there will be more: Lefèvre's body of works
includes 21 clarinet sonatas and over 150 clarinet duos, mostly
for two clarinets.
Byzantion
Collected reviews and contact at reviews.gramma.co.uk
Colin Lawson (C clarinet) 
