Please wait...

Hyperion Records

CDH55076 - Romberg, Fuchs & Stanford: Clarinet Quintets
Full Summer by Sir John Arnesby Brown (1866-1955)
City of Nottingham Museums, Castle Museum & Art Gallery
(Originally issued on CDA66479)

Recording details: January 1991
St Martin's Church, East Woodhay, Berkshire, United Kingdom
Produced by Martin Compton
Engineered by Tony Faulkner
Release date: May 2001
Total duration: 79 minutes 24 seconds

'These are diversions – divertimenti – in the best sense of the word. There’s plenty of lively, affectionate musicianship in these performances – all warmly and intimately recorded' (BBC Music Magazine)

'Easygoing, tuneful and very likeable … there’s plenty of lively, affectionate musicianship in these performances – all warmly and intimately recorded' (MusicWeb International)

Romberg, Fuchs & Stanford: Clarinet Quintets
Allegro  [8'22]
Larghetto  [4'24]
Other recommended albums
'Lutosławski, Seiber & Blake: Clarinet Concertos' (CDA66215)
Lutosławski, Seiber & Blake: Clarinet Concertos
Buy by post £13.99 (ARCHIVE SERVICE) CDA66215  Archive Service  
'Five Italian Oboe Concertos' (CDH55034)
Five Italian Oboe Concertos
Buy by post £5.50 CDH55034  Helios (Hyperion's budget label)  
'The Clarinet in Concert' (CDD22017)
The Clarinet in Concert
Buy by post £10.50 CDD22017  2CDs Dyad (2 for the price of 1)  

In that unthinkable Age of Grace enjoyed by all mankind before the dawning of the twentieth century—before atonality and the H-Bomb—few composers thought of writing for the clarinet in the upper part of its register, and the high piccolo clarinet (in E flat) was practically unknown outside the military band. Stridency was uncivilized. Mozart, Weber, Brahms, Reger—and lesser (but not undistinguished) luminaries like Romberg, Fuchs and Stanford—all favoured the clarinet for its lyrical, euphonious quality, its rich warmth of expression, and its deep broad range of tone colours. Until the saxophone was invented, the clarinet, of all the woodwind instruments, most nearly approximated to the human voice, and its extraordinary powers of dynamic control, especially in diminuendo and pianissimo, enable it to blend with other instruments (both strings and brass) as if it were one of the family. Another asset is the fact that the ear tires of the clarinet much less readily than any other wind instrument, so that listening to Thea King’s present recital right the way through (the works are presented in chronological order) is not a penance but a pleasure.

Christopher Palmer © 1992

   English   Français   Deutsch