Notes and Editorial Reviews
The highly productive musical friendship between composer Carl Maria von Weber and clarinetist Heinrich Baermann is legendary. The Concertino penned by Weber especially for the first clarinetist of the Munich Court Orchestra got things going with its sensational success. Weber and Baermann then went on an extended joint concert tour with the two clarinet concertos written shortly thereafter. Paul Meyer probes this friendship with the Orchestre de Chambre de Lausanne, which once again proves to be a top international advocate of German romanticism.
Weber needed only a few days to compose the Concertino. The composer fully exploited the resources of the Munich Court Orchestra, one of Europe’s best at the time. The one-movement work has the form of a bravura opera scene with ample space for the clarinetist to display his brilliance.
Working in close association with Baermann, Weber set out to compose the two clarinet concertos. The King of Bavaria himself had commissioned them – further proof of the extraordinary esteem in which Weber was held in Munich.
Paul Meyer fully develops these resources. It almost goes without saying that this sought-after soloist and conductor masters the most highly demanding technical challenges, including the feared solo beginning of the Concerto in E flat major over two octaves, without any problems at all. Captured with high-resolution, dual layer, SACD technology, this new recording not only is convincing in every respect but also – in 3-D and 2+2+2 Recording – produces an emotional suction effect guaranteed to move each and every listener.