Sergei PROKOFIEV (1891-1953)
Violin Sonata No.2 in D major, Op.94bis (1943) transcription for clarinet
by Kent Kennan [26:02]
Overture on Hebrew Themes in C minor, Op.34, for clarinet, string quartet
and piano (1919) [9:25]
Mieczysław WEINBERG (1919-1996)
Sonata for clarinet and piano,
Op.28 (1945) [18:55]
Annelien Van Wauwe (clarinet)
Lucas Blondeel (piano)
Shirly Laub (violin), Samuel Nemtanu (violin), Marc Sabbah (viola), Bruno
Philippe (cello)
rec. Academiesaal, Sint-Truiden, Belgium, 2014
GENUIN CLASSICS GEN15372 [54:30]
The Violin Sonata No. 2 was originally composed for flute
and piano and only became Op.94bis after the transcription for violin and
piano requested from Prokofiev by David Oistrakh. It easily and happily transfers
to the clarinet as if it had been meant for it originally. The instrument's
rich warm tones seem both perfectly natural and simply luscious. It was composed
while Prokofiev was evacuated to Alma Ata, capital of the Soviet republic
of Kazakhstan in 1942-43. The remit of all composers was to create music that
spoke directly to the people. Since it was wartime music should additionally
help lift the spirits. As it turns out there is absolutely nothing here to
suggest that life was anything other than joyous. This sonata is so full of
good tunes it is true testimony to Prokofiev’s artistry and unmistakeably
unique voice.
Weinberg’s star is definitely in the ascendant with recordings of his
works a frequent occurrence. I for one have reviewed more than 15 discs of
music by him in the last three years. His music is infinitely approachable
and this sonata is a perfect example of that. The second movement would be
route to discovering what he has to offer for anyone wishing to dip their
aural toe in these musical waters. The ‘exotic’ is never far away
in Weinberg’s music for he often weaves in traditional Jewish klezmer
themes with their rich resonance; this movement is a case in point. The sonata
was composed when he was only 26 and in self-imposed exile during the war,
in his case in Tashkent, the Uzbek capital. The sonata’s last movement
is a much more serious affair than the two preceding ones with an echo of
the Kaddish, the Jewish prayer for the dead. This was inspired no doubt by
the thought of his family which he had been forced to leave in occupied Poland.
He was sure their fate was sealed and about this he was regrettably correct.
The disc moves apparently seamlessly from one Jewish theme to others with
Prokofiev’s Overture on Hebrew Themes. The booklet notes inform us that
this work has its origin variously attributed to an offer by Prokofiev to
compose a piece for the Jewish ensemble Zimro or a request by them for him
to do so. He composed it while in exile in America and it was responsible
for introducing klezmer themes to the general public in the USA. Until then
the genre/style had only been known by Jewish communities who had brought
the music with them from their homelands in Eastern Europe. Prokofiev seemed
to be rather dismissive of the Overture saying that it was composed in just
two days with a simple structure using “pre-existing themes, (and) a
conventional technique”. Nevertheless he made a version for orchestra.
In its sextet version it remains a popular work by this marvellous composer.
Annelien Van Wauwe is a highly talented clarinettist with a wonderfully fluid
technique though at times I felt she held herself back a little too much.
Her interpretations would perhaps benefit from a touch more daring, something
I’m sure will come with experience. She is more than ably accompanied
by Lucas Blondeel whose sympathetic playing makes them an ideal duo. The musicians
who join them in the last item make that work a very pleasant closing piece
for this enjoyable disc.
Steve Arloff
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