Originally published in The Clarinet 52/1 (December 2024).

Copies of The Clarinet are available for ICA members.

---

Audio Reviews:

December 2024

---

RECORDINGS

Ebony Chants. Paolo Marchettini, clarinet; Meng Zhang, clarinet; Ka Hei Chan, clarinet; Tommy Shermulis, bass clarinet. P. Marchettini: Due Canti for clarinet trio; Cinque Oracoli for clarinet; Preludio e Corrente for clarinet quartet; Prayer for clarinet; Cinque Fanfare Napoletane for clarinet trio; Three Sketches for clarinet; Epitaffio for clarinet quartet; Music of Color for clarinet ensemble; Entrée for bass clarinet; Nec Clari for clarinet ensemble; Tratto for clarinet. New Focus Recordings, FCR402. Total Time: 60:44.

Italian composer, clarinetist, and pianist Paolo Marchettini has created an extensive catalog of works, including solo, chamber, orchestral, choral, and vocal music. His music has been commissioned and performed by numerous artists and at many international festivals. As a performer, he has been a soloist with several orchestras internationally and has worked with many composers. He holds a doctorate in composition from the Manhattan School of Music, and his works are published by Edizioni Curci and Raitrade and featured on New Focus Recordings.

Ebony Chants contains twelve compositions written by Marchettini, many of which he performs. A solo clarinet opens this album with a soulful and flowing melody, soon joined by this clarinet trio’s second and third parts in the first movement of Due Canti. The voices blend well, creating a colorful mélange, but it seems to end as quickly as it began, leaving me wanting to hear more. Cinque Oracoli for solo clarinet is in five short movements. Extended techniques such as multiphonics and timbral/alternate fingerings enhance this work. Marchettini maneuvers these techniques with ease and simplicity.

Marchettini’s quartet Preludio e Corrente (2009) is a harmonic array of musical colors intricately fused and expertly performed by Marchettini, Meng Zhang, Ka Hei Chan, and Tommy Shermulis. The “Preludio” allows an occasional solo interjection by each of the players while the remaining members weave in and out collectively. “Corrente” has multiple meanings—running, flowing, stream—from the Latin currere, which means “to run.” I can certainly feel the energy from this exciting work. It is challenging and animated, expertly performed by the ensemble.

Prayer, a plaintive and reflective piece, is a testament to Marchettini’s mastery of extended techniques. His use of these techniques in this contemplative work is convincing and compelling, demonstrating his deep understanding of the clarinet and his ability to evoke emotion through music.

Cinque Fanfare Napoletane for clarinet trio is based on five famous Neapolitan songs. Marchettini’s modification of each of these well-known Italian songs is not a transcription per se, but more of a conversion, yet still retaining much of the charm of each of these enchanting songs. He does this by understanding the clarinet register and range, adding his unique compositional flair.

Three Sketches for clarinet is dedicated to Marchettini’s teacher, Ivan Vandor. It consists of three movements, each a convincing exhibition of the clarinetist’s skills. The final movement is most compelling, as you hear a persistent knocking throughout the work accompanying the surreptitious clarinet line.

Epitaffio for clarinet quartet was written in memory of all victims of war. The clarinet voices surge and swell ominously, with staccato attacks randomly materializing throughout this brief work. The captivating allure of Music of Color, also for clarinet ensemble, is a cacophony of strident tones forming an amalgamation of color, commotion, and fusion. With its brusque entrances, the bass clarinet provides a striking contrast to the more disorderly elements of this piece.

I found Entrée for solo bass clarinet impressive in delivery, as performed by Tommy Shermulis. This piece is a series of fragments and interjections from the bass clarinet utilizing all three registers.

Nec Clari was written for multiple clarinets; however, in this recording, Marchettini performs all of the instruments. Without a score it is difficult to tell how many clarinets he has recorded, but I can hear multiple soprano and several low clarinets. The clarinet’s discord was inspired by the action paintings by Jackson Pollock. This work is thought-provoking, and after researching Pollock’s paintings, I can see where his interpretation is drawn from. Tratto, for solo clarinet, is inspired by medieval monodic chant style. This work begins in the manner of a chant style of singing but quickly progresses into a piece with more rhythmic energy and expands into a more spacious display. Marchettini masterfully demonstrates his prowess by controlling his tone in all registers and his technical skills.

The album ends with the second movement of Due Canti. In this work, Marchettini skillfully combines the three soprano clarinets again with a coherence of tone and timbre, closing the album as it began, a fusion of the three voices, bringing back the composure and calmness. It is an excellent way to end this album. Paolo Marchettini is a gifted composer and clarinetist. None of the works on this album were known to me before this review. I will be looking into performing several of these intriguing works.

– Lori Ardovino

---

From the Depths. Jonathan Russell, bass clarinet. J. Russell: Prelude –
Chant; A Requiem for 2020; We Are Broken; Postlude; H. Purcell/arr. J. Russell: Hear My Prayer, O Lord; Traditional/arr. J. Russell: Sometimes I Feel Like a Motherless Child. Musica Solis, MS202406. Total Time: 45:46.

Jonathan Russell’s fantastic new album From the Depths features his compositions and arrangements for bass clarinet ensemble. Russell’s music is vibrant and accessible. As the title suggests, much of the music is emotionally charged and dark in character. It feels deeply personal and, at times, raw. Russell produced, recorded, edited, and mixed the album. He describes the “music of sorrow, rage, hope, and healing” in his thoughtful program notes. The performances are polished and powerful.

Russell is a celebrated bass clarinetist and composer. In addition to his leadership of the bass clarinet ensemble Improbable Beasts, Russell is a member of the Sqwonk bass clarinet duo with Jeffrey Anderle, and serves on the ICA’s New Music Committee and on the artistic team for the Low Clarinet Festival.

The album opens with the contemplative Prelude – Chant. According to Russell, this brief piece began as a solo melody for any instrument before it was first notated in 2020 for flutist Laura Lentz as a part of her collection titled Comfort Pieces. The arrangement on this album features Russell on the solo part along with his recordings of improvised parts, drones, echoes, and countermelodies. His tone is rich and vibrant. The middle section is especially interesting with the powerful low registration and the klezmer influence.

A beautiful arrangement of Purcell’s choral work Hear My Prayer, O Lord follows. The piece begins with a simple melody that is transformed as voices are added. The intense dissonances are striking as they become more pronounced. Russell relishes the dissonances in this short gem.

A Requiem for 2020 is the highlight of the album. It was written for the Improbable Beasts and premiered at ClarinetFest® 2021 virtually and live in Boston in 2022. Russell reveals that the piece is “meant to evoke the churning events and emotions of the year, and also to offer some space to grieve, reflect, remember, and find solace.” Russell’s writing is direct and powerful. The piece opens with a haunting melody over sustained chords. He paints with a broad color palette with varied melodic contours, penetrating dissonances, and moments of heartfelt lyricism. The gorgeous chorale at the end is well worth the wait. Listeners will appreciate the stark contrasts achieved on this recording as well as the conviction of the performance.

Russell’s arrangement of a traditional African-American spiritual, Sometimes I Feel Like a Motherless Child, is a wonderful addition. Russell gives an informed performance and plays with a beautiful vocal quality. The phrases flow naturally, and the playing has a nice touch of spontaneity.

We Are Broken is equally moving, with the layered entrances of colorful chords and the four-note “we are broken” motive. The tranquil middle section is memorable as the motive appears in varied speeds, combinations, and dynamics. The recurring driving rhythmic patterns are also catchy. There are a few intonation inconsistencies, but overall, this is an excellent performance.

Postlude rounds out the album. It recalls the main theme of Prelude – Chant and was written for this project. The chant is more subdued this time, perhaps in response to what came before. Russell carefully considered the flow of the album and how the pieces speak to one another. He succeeds in crafting a compelling listening experience from start to finish.

– Justin Stanley

---

Voyageurs. Upland Trio: Christopher Bade, clarinet; Josh Aerie, cello; Greg Kostraba, piano. R. Sowash: Trio No. 11 for Clarinet, Cello, and Piano “We Sang, We Danced”; Trio No. 12 for Clarinet, Cello, and Piano “Voyageurs”; Trio No. 13 for Clarinet, Cello, and Piano “Passacaglia and Fugue.” Kickshaw Records, 1003. Total Time: 65:31.

The Upland Trio was formed out of a mutual goal of its members, clarinetist Christopher Bade, cellist Josh Aerie, and pianist Greg Kostraba, to explore new music and to expand accessibility, enjoyment, and knowledge of music, especially with works by living composers. The trio’s album Voyageurs features a triptych of works by Rick Sowash, a composer who shares this desire for musical accessibility as a core artistic tenet. Sowash has, in many ways, modeled his artistic life after that of Charles Ives, both in finding meaningful work inside and outside of music and expressing a love for composing in a regional way to celebrate his midwestern home of Ohio. Notably, he has written 500 musical compositions, including a great many featuring the clarinet, that are available through his website free of charge.

The album begins with Trio No. 11 which is titled “We Sang, We Danced.” In its four movements, this trio is nostalgic in nature. The first movement, “Prelude” begins with a playful, albeit wistful cello ostinato that ushers in a childlike melody in the clarinet. The tuneful writing in the clarinet and cello are memorable and performed with lovely buoyancy. “Bells of Morn” has a solemn character which highlights the resonant and expressive tone of Bade’s clarinet playing. “A Pretty Air” features a melodious duet between clarinet and cello with abrupt interjections from the piano. The last movement is a witty tango. The ensemble is excellent here, flamboyant and free, but with impressive balance and consistency of restraint that reiterates the happier times the composer references in the liner notes.

Trio. No. 12, “Voyageurs,” is a grand, four-movement homage to Canada. “Geese in Flight” has a cinematic character that at times evokes the placidity of Philip Glass and at others the folk-like melodies of Copland. “Night Song of the Voyageurs” honors the French-Canadian mountain men who explored the west. An earthy folk tune in the clarinet and cello gives way to a searching piano interlude, performed masterfully by Kostraba. “Starshadows on the Snow” and “A Majestic Land” are auditory vignettes of the Canadian landscape. Each musician performs these movements with a beautifully balanced sound, without sacrificing individual virtuosity. The piano writing in this piece is stunning and gives it a rather unique quality. Indeed, there is an immediacy and pureness to this trio that allows one to get lost in the evocative imagery that its programmatic name suggests.

The final work, Trio No. 13, entitled “Passacaglia & Fugue” takes the listener to a darker auditory experience. Written in E-flat minor, Trio No. 13 grew out of the composer’s response to unhappy current events. The opening cello theme of “Passacaglia” creates an aura of desolation and mystery, as if asking a question. This melody gets fractured and repeated in a frenzy that gives way to cascading piano virtuosity that is simultaneously beautiful and furious. Lines throughout are passed skillfully through the trio members as if created by one, forming a wonderful dialogue. Of note is Bade’s superb control through delicate moments. His hauntingly beautiful tone is captivating throughout the entire recording but shines here in particular. “Fugue” is lighter than the first movement, but still carries a dissonant and slightly chaotic nature described in the liner notes as the composer’s musical “expression of the energy that is generated by outrage.” The main theme of “Passacaglia” returns amid the rather dense counterpoint, reiterating the intensity of this feeling. This movement showcases the trio’s ability to shift from one idea to the next with excellent refinement and tightness of ensemble.

This album is a fantastic addition to any music lover’s collection. The recording quality is first-rate, and the liner notes offer valuable insight into the pieces, performers, and composer. Beyond the fine performances of the Upland Trio, this album is a valuable addition to those who are less familiar with Sowash’s beautiful compositions. Overall, this is a well-produced collection of excellent performances, and I look forward to more recordings from this trio.

– Anna Roach

---

Dathanna: Hues and Shades. Berginald Rash, clarinet; Fiona Gryson, harp. G. Pierné: Canzonetta, op. 19; L. Cahuzac: Cantilène; C. Saint-Saëns: Sonata, op. 167; M. Ravel: Pavane pour une infante défunte; Pièce en Forme de Habanera; E. Bozza: Aria; E. Satie: Trois Gymnopédies; N.C. Bochsa: Thème et Variations; C. Debussy: Petite Pièce; La Fille aux Cheveux de Lin; A. Giampieri: Il Carnevale di Venezia, Capriccio variato (Carnival of Venice). Orchid Classics, ORC 100278. Total Time: 66:08.

Hues and Shades presents an appealing twist on a number of well-known works with the unique pairing of clarinet and harp. Dathanna, an Ireland-based duo consisting of harpist Fiona Gryson and clarinetist Berginald Rash, has done a wonderful job on this recording to embody the spirit of chamber music. Only one work on the album—the Bochsa—was originally written for clarinet and harp; the others were expertly arranged by Rash and Gryson, capturing the tonal beauty of both instruments combined.

The album begins with Canzonetta, op. 19, by Pierné and Cantilène by Cahuzac. Both of these works showcase the wonderful tone of the performers and their ability to play delicately, but with intensity. Following these works is Sonata, op. 167, by Camille Saint-Saëns. While the intense dynamics are sometimes lost due to the idiomatic tendencies of the harp, the thinner texture of this arrangement allows one to hear more clearly the conversational element between the two parts and how they interact with one another.

The album continues with two works by Ravel, followed by the Bozza Aria and Satie’s Trois Gymnopédies. Rash’s delicate phrasing and mastery of playing at a softer dynamic is present in Aria, adding an intensity without too much volume to perfectly blend with the harp.

Next is the only work on the album originally written for clarinet and harp, Thème et Variations by Bochsa. As the variations become busier, the first one being for solo harp, both Rash and Gryson are able to produce these faster passages and ornamentations with clarity and ease. After a slower minor variation, the piece concludes with a march-like final variation. Following the theme and variation are two works by Debussy, in which the musicians complement each other perfectly, matching intensity and nuance with each phrase.

The album concludes with Giampieri’s Il Carnevale di Venezia, Capriccio variato (Carnival of Venice). This work showcases Rash’s virtuosic side; he is able to rip through fast passages with ease and a light, flowing quality. Overall, this is a superb album that gives a refreshing take on some familiar works.

– Jeremy Wohletz

---

Transcontinental: Music Without Borders. Grant Youngblood, baritone; Eileen Grycky, flute; Christopher Nichols, clarinet; Guillaume Combet, violin; Michal Schmidt, violoncello; Marie-Christine Delbeau, piano. J.M. Barker: Ocean of Glass for flute, clarinet, and piano; Harmonious Dreams for baritone, clarinet, cello, and piano; O. Ben-Amots: The Odessa Trio for violin, violincello, and piano; Montage Music for clarinet, violin, cello, and piano. Meyer Media, MM23054. Total Time: 64:43.

Transcontinental: Music Without Borders is a captivating celebration of global musical diversity, seamlessly blending genres and traditions through chamber music. This album takes listeners on an enchanting journey, with each track exemplifying music’s power to transcend cultural boundaries and unite us in a shared experience of joy and discovery.

Jennifer Margaret Barker’s Ocean of Glass (2021), written for flute, clarinet, and piano, draws inspiration from the natural landscape and wildlife of Alaska’s Inside Passage. The composition features broad, sweeping musical gestures for all ensemble members, employing a modern cinematic language. The performers deliver beautifully nuanced interpretations, executing intricate passagework with effortless precision.

Ofer Ben-Amots’s The Odessa Trio (2013) for violin, cello, and piano is dedicated to the memory of the composer’s mentor and friend, Joseph Dorfman. The “Elegy” movement stands out with its breathtaking, visceral melodies, performed with stunning grace and refinement by the ensemble. The impressive blend and connection between instruments bring this outstanding work to life.

Barker’s Harmonious Dreams (2019), a four-movement work for baritone, clarinet, cello, and piano, incorporates text from various hymns, spirituals, and American indigenous music. While the entire piece is replete with tenderly performed moments, the second movement, “The Story of His Love,” particularly showcases clarinetist Christopher Nichols’s musical depth. The intricate interweaving of textures between voice and clarinet is expertly conceived and stands as a highlight of the album. Each of the four movements is polished in presentation, showcasing this beautiful work in its full glory.

Ben-Amots’s Montage Music (2017) for clarinet, violin, cello, and piano is a four-movement work inspired by the art of Bebe Kimmer. The piece opens with a hauntingly beautiful, ethereal first movement before transitioning to a second movement with distinct klezmer influences. The ensemble’s unison passages, featuring difficult technical material, blend so seamlessly that they must be heard to be believed. The third movement, composed in a blues style, highlights clarinetist Nichols’s stylistic mastery and ability to adapt effortlessly to each musical moment. The final movement, “Return,” features cellist Michal Schmidt’s rich sonic approach, perfectly concluding the work’s diverse musical ideas.

– Spencer Prewitt

---

Project Earth: The Blue Chapter. Iris Trio: Christine Carter, clarinet; Zoë Martin-Doike, viola; Anna Petrova, piano. F. Hoefner: Bird Island Suite; Chorus of Wishes; Kinds of Blue. CMC Centrediscs, CMCCD 33924. Total Time: 60:59.

The Iris Trio (Christine Carter, clarinet; Zoë Martin-Doike, viola; Anna Petrova, piano) presents an extraordinary collection of works created in collaboration with composer Florian Hoefner and poet Don McKay in Project Earth: The Blue Chapter. Inspired by musings about a young child’s future, the five artists weave a seamless masterpiece that joins impeccable musical renderings with spoken text to realize an elaborate score filled with nuance, subtle musicality, and dynamic ensemble cohesion. The individual artists are stellar, and the vibrance and energy that permeate the recording are extraordinary. Alternating poetry with music, the jazz-influenced scores weave expression across all timbres to create a unique, powerful, and impactful work.

Opening with evocations of birdsong, Bird Island Suite speaks to the habits of multiple species. The languid lines of “Audience” bring the listener into the space, while avian behaviors are mimicked line by line in “Bird Island Cacophonic Choir.” The intricate interplay and exquisite sensitivity of the performers are highlighted through the delicate balancing of vocal and instrumental interplay. Crisp articulations, beautiful phrasing, and richness of tone are on display by all performers.

The extended techniques on the viola, resonant taps on the piano, and faraway calling echoes of the clarinet in “Song for the Song of the Great Auk” feel natural and effortless, framing the listener’s mindset, reaching back in time to tell the tale of a lost species. A delicate rhythmic piano dance and a sultry blanket of tone in the viola underpin a gentle melody of the clarinet. In “Song for the Song of the Leach’s Storm Petrel,” the ability of the petrel to survive and thrive in harsh conditions is mirrored through the soaring lyrical lines of the clarinet that exemplify effortless musicality in all registers, the anguished cries of the viola that blend tone with the resonance of the clarinet to form a cohesive unified voice, and the punctuated rhythm of the piano that is played with exceptional musicality, belying the delicate and intricate nature of the writing. The composer, poet, and performer package is on full display in this evocative piece, as the listener becomes lost in time, space, and retrospection.

Harkening to minimalist influences, Choruses of Wishes seamlessly brings all timbres into a synergistic whole. The lines weft and weave, connecting and breaking apart, challenging the listener to notice how one timbre is a mere extension of another. The human-like sound of the clarinet and the richness of the viola combine to extend one another’s lines. At the same time, the rich timbres of the piano are connected with a sensitive musicality of storytelling. The lines are flawlessly performed, blending musicality with ensemble dynamism that creates a single, unified tone, whether languid or rhythmic.

The foundation of Kinds of Blue is all things blue in nature. Speaking in a voice reminiscent of the blues, “A Blue in Every Hue” shifts shapes to simultaneously ground the listener and obscure the overt presence of regulated meter. The flowing lines of the clarinet connect ideas flawlessly across wide leaps, with resonance in all registers. In “Jay,” rhythmic punctuations combined with birdsong effortlessly paint the picture of a flighty bird begging for attention. Contrasting with this affection, “Iris” presents beautifully lyrical lines that speak to a flower unfolding over time, while the joyous sonority of “Berries” paints a crisp summer day of wild blueberry gathering. The melodic writing showcases the lyricism of the clarinet, presenting many opportunities for the soaring linear musicality to be showcased at the forefront. The extended use of unisons in clarinet and viola particularly highlights the sense of balance garnered in an ensemble with superb camaraderie. The exuberant nature of the piano writing provides a foundational structure to weave together the languid lyricism of the clarinet and viola. Four pictures of blue are infinitely brought to life through the omnipresent musicality and top-tier ensemble communication in this realization.

The Iris Trio, joined by exceptional compositional and poetic collaborators, has produced an album of extraordinary musical sensitivity, dynamic partnership, and technical prowess. The works are masterpieces, filled with an all-consuming energy. While the trio is remarkable as an ensemble, each musician stands out for their exquisite musicality, with lyricism, sensitivity, and joy in presenting the most difficult passages with a sense of calm and ease. The performers’ precision, emotion, and energy engage the listener at every moment, making this album a must-listen. Bravo, tutti, on a masterfully produced project!

– Michelle Kiec

---

Panamericano. Barcelona Clarinet Players: Javier Vilaplana, E-flat clarinet; Manuel Martínez, clarinet; Martí Guasteví, basset horn; Alejandro Castillo, bass clarinet; with Banda Sinfónica de la FaM de la UNAM, Luis Manuel Sánchez, conductor; Freiburger Blasorchester, Miguel Etchegoncelay, conductor; North Texas Wind Symphony, Eugene Migliaro Corporon, conductor; Banda Sinfónica Especial de Tocancipá, Thomas Verrier, conductor; Banda Sinfónica de Sabaneta, Thomas Verrier, conductor; Orquesta de Sopros da UFRJ, Marcelo Jardim, conductor. A. Márquez: Rumba Fugata; D. Freiberg: Sueño Austral; P. D’Rivera: Caribbean Berceuse; V. Valencia: ¡Fandango! Secretos de la Rueda Oscura; R.D. Gómez: Las ‘No Hay’ Estaciones; E. Villani-Côrtes: Puri. GIA WindWorks, CD-1111. Total Time: 72:05.

Panamericano by the Barcelona Clarinet Players is a grandiose production by this highly accomplished clarinet quartet from Barcelona, Spain. The album features six original compositions for symphonic wind bands, with the Barcelona Clarinet Players showcased as soloists. These six works were specially commissioned by, dedicated to, composed for, premiered by, and recorded by the ensemble, who selected prominent Latin American composers to create these pieces between 2021 and 2022. Each composition was recorded by the Barcelona Clarinet Players in collaboration with six different wind bands.

Clarinet quartets are already highly versatile, offering a broad range of timbral textures, but when paired with a symphonic wind band, the possibilities for musical expression become nearly limitless. On this album, every member of the quartet stands out as a solo voice, yet the interplay between the quartet and the wind band often resembles a lively conversation, with other instruments occasionally stepping forward as soloists.

The Barcelona Clarinet Players are Javier Vilaplana (E-flat clarinet), Manuel Martínez (soprano clarinet), Martí Guasteví (basset horn), and Alejandro Castillo (bass clarinet). Each member is a virtuoso in their own right, but together they form a remarkable sonic powerhouse. Their individual articulations are crisp and agile, and their mastery of extended techniques—such as flutter-tonguing and slap-tonguing across all instruments and ranges—is nothing short of impressive. The ensemble’s intonation, balance, synchronization, and dynamics are impeccable, and their musicality shines through in the diverse Latin American styles they interpret on this album.

Panamericano is a rich and vibrant exploration of Latin American music, offering a dynamic repertoire that truly captures the essence of the region’s musical diversity. Each track reflects the unique cultural and rhythmic traits of its country of origin, with the ensemble delivering an outstanding performance that brings these elements to life. Particularly impressive are the works of Freiberg and Villani-Côrtes, whose compositions beautifully showcase the distinctive styles of Argentine and Brazilian music, respectively. The vibrant pulse of tango, the infectious energy of samba, and the lively rhythms of baião (a personal favorite) make for an exciting and highly enjoyable listening experience.

The album is beautifully presented, with a color photograph of the ensemble members on the cover, set against what appears to be a field. The booklet, available in both English and Spanish, is rich with relevant information: it lists the names of the players, the instruments they perform, the wind bands that recorded the various compositions, the conductors of these bands, the titles of the tracks, descriptions of the repertoire, and details about the record label. You can find the Barcelona Clarinet Players online at their website, which offers a wealth of information about the ensemble, including an option to contact them directly.

This album is filled with impressive moments and is a joy to listen to. The compositions are outstanding, showcasing both the clarinet ensemble and the wind bands to magnificent effect. The performances by the Barcelona Clarinet Players and the various wind bands are exceptional.

I highly recommend this album!

– Jorge Montilla Moreno

---

Dreams and Dances: Chamber Music for the Clarinet by the Krein Family. Anne Elisabeth Piirainen, clarinet; Iryna Gorkun-Silén, flute; Lea Tuuri, violin; Maria Puusaari, violin; Jussi Aalto, viola; Pinja Nuñez, cello; Kirill Kozlovski, piano. A. Krein: Esquisses Hebraïques, no. 1, op. 12 for clarinet and string quartet; Esquisses Hebraïques, no. 2, op. 13 for clarinet and string quartet; G. Krein: Poème for clarinet and piano; Two Pieces on Yakut Themes for clarinet and piano; Quartet for clarinet, violin, cello, and piano; Y Krein: Trio for flute, clarinet, and piano; Sonata for clarinet and piano. Toccata Next, TOCN0019. Total Time: 78:03.

Clarinetist Anne Elisabeth Piirainen has assembled an exciting album of chamber works composed by the Krein family. Brothers Alexander and Grigory combine classical compositional techniques of the 20th century with their Jewish musical roots. In contrast, the compositions by Grigory’s son, Yulian, represent the modernist style of the late 20th century. Despite the clarinet’s significant role in these works and their unique compositional styles, these pieces have remained relatively unknown to audiences until now.

Alexander Krein’s Esquisses Hebraïques no. 1 and no. 2, written for clarinet and string quartet, utilize traditional Jewish melodies and themes. The second suite opens the album and features two movements beautifully performed by Piirainen and her colleagues. Piirainen’s warm and pure tone complements the dreamlike quality of the first movement. The clarinet floats in and out of the musical spotlight, often in unison with the strings, creating a shimmering soundscape. The second movement is an upbeat dance accompanied by syncopated rhythms in the strings.

The opening movement of Alexander’s first suite sounds improvisatory in nature. The clarinet initiates a musical call and response with the strings which is accentuated by Piirainen’s exquisite lyricism and musical inflection. In the second movement, a lyrical dialogue between the clarinet and cello evolves into a lively dance. The final movement, Allegro moderato, presents several musical themes that build in energy to close the work. The iridescent tone quality and sensitive phrasing of the string quartet complements the folk elements woven throughout Alexander’s compositions.

In contrast to the suites by Alexander Krein, which overtly reflect Jewish musical traditions through elements such as instrumentation and melodic content, Grigory’s Poème echoes the compositional style of French impressionism. Piirainen’s delicate artistry is apparent in the virtuosic clarinet lines that ebb and flow throughout the piece and the beautiful altissimo playing at quiet dynamic levels.

Grigory’s Two Pieces on Yakut Themes for clarinet and piano contains two distinct movements based on the style of Yakut folk music. The first piece, “Liberamente, quasi cadenza,” opens with a clarinet cadenza that develops into a nostalgic melody in the low register. The second piece is more playful in nature, including spirited melodic lines that ascend to the top of the clarinet’s range, buoyant musical themes, and a harmonic language evocative of Ravel’s compositional style. Piirainen and Kozlovski’s stunning collaboration and thoughtful phrasing are of particular note in this work.

Clarinet Quartet, a striking work for clarinet, violin, cello, and piano by Grigory, closes the album. All instruments are highlighted in this chamber piece, which employs unique orchestration including frequent unison passages. Piirainen and her colleagues perform with sophisticated phrasing and careful attention to balance.

The works on this album by Grigory’s son, Yulian, are composed using less of the Jewish idiom and more of a modernist style influenced by French impressionism and neoclassicism. His Trio for flute, clarinet, and piano—masterfully performed by Piirainen and her colleagues—begins with an animated melody in the piano, later repeated by the clarinet and flute before a transition to a lyrical middle section. The tranquil second movement provides a moment of respite before the playful third movement. Yulian’s Sonata for clarinet and piano opens with a wistful melody in the piano followed by an expressive clarinet cadenza sensitively performed by Piirainen. The second movement opens with declamatory octaves punctuated by the clarinet before revealing a lighthearted melody. Lilting rhythms in the piano and clarinet give this work a sense of cheerful buoyancy, captured perfectly by the musicians.

This album is a wonderful tribute to the Krein family. Piirainen should be commended for bringing these works to light with the support of her colleagues’ superb musicianship. The album notes thoroughly outline the rich history of the Krein family for listeners who wish to learn more.

– Kylie Stultz-Dessent

---

NEW RELEASES