Notes and Editorial Reviews
Clarinet Sonatas: No. 1; No. 2.
Lars Wouters van den Oudenweijer (cl); Hans Eijsackers (pn)
CHALLENGE CC 72505 (65:43)
This CD comes not quite two years after the release, also on Challenge Classics, of Max Reger’s three clarinet sonatas played by these same two Dutch musicians; I reviewed that CD in
it made my 2010 Want List. To report that the present renditions of Brahms’s sonatas fall just a bit short of the same distinguished level is hardly to find fault with them; rather, it is perhaps to praise them with faint damns. As in the Reger, Lars Wouters van den Oudenweijer displays a smooth, even tone and a complete technical command; pianist Hans Eijsackers manages the formidable difficulties of Brahms’s piano parts (which were written for himself) without audible difficulty. Together they don’t merely
the music; rather, they
it, in the best sense of the word. For example, in the first movement of the Second Sonata in E?, their reading is easygoing but eventful: Wouters in particular plays up the music’s contrasts, shaping and punctuating phrases in a subtle but telling way. In the third movement, he and Eijsackers characterize each variation uniquely, without losing the sense of continuity. This is intelligent,
music-making without ever sounding merely calculated or precious. The F-Minor Sonata is treated similarly, although the tempo of the last movement precludes much subtlety.
So, you may fairly ask, what are my reservations? On this CD Wouters’s sound is not as finely focused as, say, Jon Manasse’s in his superb recording of these sonatas with Jon Nakamatsu (
31:5); also, he plays a number of passages too
, as for example the triplet arpeggios in the development of the first movement of the E?-Major Sonata. The recording, further, is a little glassy, and the clarinet relatively prominent, making Wouters sound just a bit harsh. These are not huge drawbacks, but they do keep this version of Brahms’s sonatas out of the top tier, where in addition to Manasse I would place older recordings by Harold Wright and David Shifrin.
As for the sonata by Joseph Rheinberger (1839–1901), it is actually the composer’s transcription of his Second Violin Sonata, transposed from E Minor to the uncommon key of E?-Minor. Written at the height of the Romantic century, the work is more extravagant in its expression than Brahms’s subtle essays, and Wouters’s playing is accordingly more flamboyant. The tessitura of the clarinet part shows that the rewriting was not very extensive; the
register is used freely, up to the instrument’s top B?. Still, clarinetists have no superfluity of 19th-century sonatas, so the piece is worth having in this form. I reviewed the recording on Atma by André Moisan and Jean Saulnier in 31:5; both versions make about as much of the piece as can be made, so the coupling may be the deciding factor.
Only the most demanding listener will be disappointed by this recording, which is recommended with the qualifications given above.
FANFARE: Richard A. Kaplan
Works on This Recording
Sonata in E flat major op. 120/2: Allegro amabile
Sonata in E flat major op. 120/2: Allegro appassionato
Sonata in E flat major op. 120/2: Andante con moto
Sonata in f minor op. 120/1: Allegro appassionato
Sonata in f minor op. 120/1: Andante un poco Adagio
Sonata in f minor op. 120/1: Allegretto grazioso
Sonata in f minor op. 120/1: Vivace
Sonate op. 105a: Allegro non troppo
Sonate op. 105a: Andante molto
Sonate op. 105a: Non troppo allegro
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