Notes and Editorial Reviews
The late George Rochberg’s Trio is the most substantial work here. It was written in 1947, preceding both the composer’s serial-based expressionist period and his subsequent return to tonality. The
avant-garde
condemned Rochberg’s sudden switch to neo-Romanticism, notably in his Violin Concerto of 1975 written for Isaac Stern, but as more of Rochberg’s large-scale works are made available the clearer his underlying consistency appears. He was a composer of great integrity who never spun a pointless note, serial or tonal. The Trio is in three movements, of which the first is the least individual, resembling
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Hindemith in its busy counterpoint and leaping intervals of the fourth. The second movement, Andante semplice, begins with a haunting passage of two-part harmony between the clarinet and muted horn, developed at first by the solo piano and then by all three instruments with considerable imagination and atmosphere. The final movement is described in the excellent notes as a “lively, joyous dance.” To these ears it sounds more like a lively, joyous dinner party, with the horn telling risqué stories and the other two “guests” laughing in all the appropriate places. If you think that sounds fanciful, let me add that the ending is marked
allegro giocosamente
.
Schuller’s
Romantic Sonata
is also an early work, composed at the age of 16 and revised in 1983. It is romantic in the style of Howard Hanson, although it doesn’t outstay its welcome, as Hanson’s work is sometimes apt to do. Once again, the Adagio makes the strongest impression, with a languid, high clarinet line (beautifully played) above a rocking piano accompaniment.
The CD is a showcase for Larry Combs, distinguished long-time clarinetist with the Chicago Symphony Orchestra. He is particularly associated with the solo pieces by Rózsa, having at one time owned the only copies of them, and he plays them to the manner born. These works may be mainly of interest to clarinet-fanciers. The Sonatina displays Rózsa’s Hungarian roots in its attractive finale, but the 15-minute Sonata had me longing for a piano or string accompaniment to place the composer’s deftly juggled melodic motifs in a fuller harmonic context.
Apart from the Rózsa Sonata, these recordings constitute a reissue of a 1986 LP. Sound is fine, but the piano is balanced rather distantly and the instrument itself sounds weak in the treble. The musicianship is first class, though, and the Rochberg Trio in particular is well worth hearing.
FANFARE:
Phillip Scott
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Works on This Recording
1.
Sonata for Clarinet solo, Op. 41 by Miklós Rózsa
Performer:
Larry Combs (Clarinet)
Period: 20th Century
Written: 1986; USA
2.
Trio for Clarinet, Horn and Piano by George Rochberg
Performer:
Gail Williams (French Horn),
Mary Ann Covert (Piano),
Larry Combs (Clarinet)
Period: 20th Century
Written: 1981; USA
3.
Romantic Sonata by Gunther Schuller
Performer:
Gail Williams (French Horn),
Larry Combs (Clarinet),
Mary Ann Covert (Piano)
Period: 20th Century
Written: 1941/1983; USA
4.
Sonatina for Clarinet solo by Miklós Rózsa
Performer:
Larry Combs (Clarinet)
Period: 20th Century
Written: 1951; USA
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