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| | Location: Home » Horns » General » Great Recordings Of The Century - Mozart: Clarinet Concerto, Sinfonia Concertante / Meyer, Vonk | December 2, 2008 |
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| Great Recordings Of The Century - Mozart: Clarinet Concerto, Sinfonia Concertante / Meyer, Vonk | 
 enlarge | Artists: Wolfgang Amadeus Mozart, Hans Vonk, Sabine Meyer, Diethelm Jonas, Staatskapelle Dresden, Sergio Azzolini, Bruno Schneider
Label: EMI Classics
Category: Music
List Price: $11.98
Buy New: $7.48
You Save: $4.50 (38%)
Buy New/Used from $5.64
Avg. Customer Rating:  (8 reviews)
Sales Rank: 21437
Format: Original Recording Remastered
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 66949
UPC: 724356694927
EAN: 0724356694927
ASIN: B00000I7W8
Release Date: March 9, 1999
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Allegro | | • | Adagio | | • | Rondo, Allegro | | • | Allegro | | • | Adagio (Andante) | | • | Andantino con variazioni |
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| Editorial Reviews:
Amazon.com
No timbral difference separates this midprice reissue of one of the best-loved concertos by Mozart from its previous, full-priced equivalent. There's a bit more ambience and warmth and less stridency on top. If you own the original CD, there's no need to replace it, but first-time buyers should snap up these sensitive, stylish performances in their Great Recordings of the Century guise. One of the main attractions is the extended compass and deliciously "woody" tone of Sabine Meyer's basset clarinet. The clarinetist's fleet, effortless dispatch of the Clarinet Concerto's outer movements is a delight to the ear, and her improvised (or so they seem!) flourishes fit into their environment as if Mozart had written them himself. Whatever arguments have arisen over the Sinfonia Concertante's authenticity, no controversy marks this fetching interpretation by Meyer and colleagues. Hans Vonk lets the Dresden Staatskapelle be their gorgeous, collective self, although the less-caloric Orpheus Chamber Orchestra boasts greater transparency in its version. Meyer's interpretation of the Clarinet Concerto has ripened since this 1992 recording, and some listeners might prefer her more playful and overtly dramatic remake with Claudio Abbado and the Berlin Philharmonic. Still and all, Mozart lovers will find both a bargain and a gold mine upon acquiring this disc. Warmly recommended. --Jed Distler
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| Customer Reviews: Read 3 more reviews...
 listener November 10, 2008
She has a wonderful sound. The CD is terrific and I highly recommend it.
excellent product and service April 5, 2008
I love the composer and the player. The product and service is just excellent. Thanks.
A must for a collector February 29, 2008
Since W A Mozart only wrote one Clarinet Concerto, this Album is a must in any Classical Music collection.
For Mozart On His 250th Birthday January 27, 2006
10 out of 11 found this review helpful
It is one of the single greatest concertos ever composed for any instrument, composed by a man whose 250th birthday is being celebrated on this very day.
Mozart's celebrated Clarinet Concerto has received an endless number of recordings over the decades, many of them exquisitely done. But this particular 1990 recording by clarinettist Sabine Meyer for EMI, with the late Hans Vonk leading the Dresden State Orchestra (Staatskapelle Dresden), is particularly brilliant in the way it brings out the work's inherent poignancy, and with it the knowledge that the great Wolfgang completed the work with only two months left in his life.
Since it is known that the work was composed with a basset clarinet in mind, this is how Meyer performs her solo part on this recording (as well as on her later recording with Claudio Abbado and the Berlin Philharmonic). But it never sounds like she is resorting to period-instrument fussiness in her solo role. The joyous outer movements are balanced by the haunting and touching slow movement to which Meyer brings out the gorgeous expressiveness of her instrument. Vonk and the Dresden orchestra accompany her with a good deal of panache.
Using the far lesser-known Sinfonia-Concertante for clarinet, oboe, bassoon, and horn was a very cagey move, given that the authenticity of this piece insofar as it relates to the Mozart canon is doubted by some musicologists. The performance by Meyer (using a modern clarinet), members of her own Sabine Meyer Wind Ensemble (Diethelm Jonas [oboe]; Bruno Schneider [horn]; and Sergio Azzolini [bassoon]), and the Dresdeners under Vonk pretty much certifies that this is indeed a true Mozart composition, full of warmth and wit in its writing.
This is a recording that genuinely lives up to EMI's claim of it being one of the Great Recordings of the Century, and is well recommended, especially for this day when we honor the great Mozart's birthday.
 We're Raised In a Mechanical World After All May 21, 2004
5 out of 12 found this review helpful
Her playing is brilliant, and so is her tone.
And very accurate in terms of the written score too. And her tone is so dark especially in the bass. She uses the German system, i.e. using a string instead of a clip for holding the weed. Her tone is nonetheless more sweet than bitter. That makes one wonders how that kind of tone could be transcendental? And whether that was the kind of tone that appealed to Mozart so much?
More seasoned audience may prefer Carl Leister, a real German maestro. His tone may not be that bright, but he mixes perfectly well with the other woodwinds and the orchestra and more importantly, his playing is poetic.
Nearly all great musicians are poetic particularly those of the older generation, including Dohnanyi (composer/pianist), Casals, Rachmaninoff, Cortot, Bartok, Rubinstein, Rampal, Arrau, Richter, Michelangeli: their tempi are never that rigid, and their scales are never that "perfectly" even. Not even Heifetz or Backhaus, Rachmaninoff or Gilel or Glenn Gould or even Pletnev (Kissin is perhaps an exception)... Yet, they are so full of life, vivid and effective. Well, when Carl Leister comes to the second movement of thesame concerto, like these great muscians of the past, his sweet-bitter tone is apt to break your heart...
Sure the Sabine has music in her pocket. Does she really play from her heart? Doesn't she sounds more like a small part of a big machine that turns around at the dictation of Karajan's baton? With her tone is so outstanding, her tempi so metronome correct and her playing so cautious... So, what is her statement ( or personal interpretation ) on this piece of music? And where is the poetry??
All in all, I rate Meyer one star lower than Galway the flutist albeit the style of the two are so close.
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