Weber wrote all his clarinet music for Hermann Baermann, who
takes as much credit for the creative fruits inspired by his
artistry as Richard Mühlfeld (Brahms) and Anton Stadler
(Mozart). For there is no question that the music Weber composed
for Baermann is among the most significant ever written for
the clarinet.
Weber's friendship with Baermann developed
from the time of their second meeting - in Munich in 1811. As
the composer was making preparations for a concert of his own
works, he quickly wrote his Concertino for Baermann to play
on this occasion. (Baermann had just been engaged as first clarinet
in the court orchestra of King Maximilian I.) The King was so
impressed with the performance of this new work that he immediately
commissioned Weber to compose two Concertos, both of which were
also completed in 1811.
Therefore the repertoire gathered on this attractive
CD is very closely integrated. The performances are all pleasing,
and so too the recorded sound, which offers a natural and unaffected
balance, with the orchestra providing discreet support when
required, but making an impact also. But what matters most in
music of this kind is the artistry of the performers, and of
the clarinettist in particular. Frédéric Rapin
emerges from this analysis with all due credit, though his performances
of the First Concerto and the Concertino are more successful
than that of the Second Concerto, which somehow misses fire,
even though all the notes are there.
The Concerto No. 1 receives a splendid interpretation,
really fresh in its direct communication, and with telling balances
of phrasing between the soloist and the conductor. The sense
of occasion comes over to the listener, and the virtuosity is
well captured by the engineers, without recourse to the vulgarity
of close microphone placings. The opening of the Concerto (TRACK
1: 0.00) sets the tone and the pulse, at a sprightly but beautifully
articulated Allegro pacing. For contrast the Adagio slow movement
(TRACK 2: 0.00) is direct and eloquent, with sensitive phrasing
and beautiful tone colour.
The short Concertino, which plays for less
then ten minutes in a single movement, is equally enjoyable
(TRACK 4: 2.23). Rapin's pleasing tone is heard to good effect,
so too his fluid phrasing, while the orchestral tuttis bring
a flourish of excitement whenever they occur.
Terry Barfoot
Philharmonie de Timisoara/Jean-François
Antonioli 