Document

  1993
    December 1993
        Orchestral
                Crusell Clarinet Concertos.

Crusell [Concerto] Concertos for Clarinet and Orchestra—No. 1 in E flat, Op. 1; No. 2 in F minor, Op. 5; No. 3 in B flat, Op. 11. Orchestra of the Age of Enlightenment / Antony Pay (cl).

Virgin Classics (Full price) (CD) VC7 59287-2 (72 minutes: DDD).

[Concerto] Concertos—selected comparison:

Johnson, ECO, RPO, Groves, Herbig, Schwarz (9/91) (ASV) CDDCA559

The contrasts between Antony Pay and Emma Johnson are fascinating, with each offering exceptionally imaginative, spontaneous-sounding performances of all three works. Pay's is the first period performance of these works. As well as directing the Orchestra of the Age of Enlightenment himself, he uses a reproduction of a nine-key clarinet as made around 1810 by Heinrich Grenser. Crusell himself is known to have used a ten-key Grenser clarinet. The slight edginess of the sound goes well with Pay's preference for fastish, often very fast, speeds, which never get in the way of his imaginative rhythmic pointing. The results in outer movements are exhilarating, with the articulation of rapid passagework often making one doubt one's ears that such agility is possible. Yet speed is never an end in itself, and the results regularly sparkle with wit, while slow movements have a flowing songfulness that is comparably persuasive.

It is a measure of the character and imagination of both Pay's and Johnson's performances that side-by-side comparison has you constantly reversing momentary preferences, so persuasive are they both, as well as so positive. Inevitably Johnson gains from a wider range of tone-colours, but on the question of scholarship over text and treatment—subject of a rivetingly erudite note by the soloist in the booklet—Pay has all the answers, and presents them in the most winning way possible, with consistent flair. He incidentally acknowledges the help of another outstanding clarinettist, who in Britain at least has been a pioneer in performing and recording Crusell, Thea King. I only wish that her splendid Hyperion recordings could now be recoupled together on a single disc. It would make a formidable rival to these two. The Virgin recording, made at Abbey Road studio, is clear, well-balanced and atmospheric.

EG



		The contrasts between Antony Pay and Emma Johnson are fascinating, with each offering exceptionally imaginative, spontaneous-sounding performances of all three works. Pay's is the first period performance of these works. As well as directing the Orchestra of the Age of Enlightenment himself, he uses a reproduction of a nine-key clarinet as made around 1810 by Heinrich Grenser. Crusell himself is known to have used a ten-key Grenser clarinet. The slight edginess of the sound goes well with Pay's preference for fastish, often very fast, speeds, which never get in the way of his imaginative rhythmic pointing. The results in outer movements are exhilarating, with the articulation of rapid passagework often making one doubt one's ears that such agility is possible. Yet speed is never an end in itself, and the results regularly sparkle with wit, while slow movements have a flowing songfulness that is comparably persuasive.



		It is a measure of the character and imagination of both Pay's and Johnson's performances that side-by-side comparison has you constantly reversing momentary preferences, so persuasive are they both, as well as so positive. Inevitably Johnson gains from a wider range of tone-colours, but on the question of scholarship over text and treatment—subject of a rivetingly erudite note by the soloist in the booklet—Pay has all the answers, and presents them in the most winning way possible, with consistent flair. He incidentally acknowledges the help of another outstanding clarinettist, who in Britain at least has been a pioneer in performing and recording Crusell, Thea King. I only wish that her splendid Hyperion recordings could now be recoupled together on a single disc. It would make a formidable rival to these two. The Virgin recording, made at Abbey Road studio, is clear, well-balanced and atmospheric.