BIS SACS 1353
Martin Fröst, clarinet
Roland Pöntinen, piano
Torleif Thedéen, cello
Here there is no trace of these problems with the exception of a single (slow) movement. Maybe the clarinet player has gained in maturity, or has simply a better relationship with Brahms music.
In general I am all for atmospheric sound take with a bit of distance to get a good acoustic feeling of the recording venue and the proper sound relationship between instruments. Here it is very rare that I have heard this but I think this concept has been pushed too far and the sound is a bit too far away. In particular the sound of the Bb clarinet has became too abstract. I cannot really place the clarinet player in relationship with the piano. For me the ideal sound take would have been closer with the clarinet in front of the piano without exaggerating the sound balance between the 2. Anyway the piano part in incredibly complex and probably more interesting than the clarinet part! But in any case Brahms knew what he was doing and used the low and high registers of the clarinet to make the sound go “over” the piano when required.
The sound take for the trio (clarinet, piano and cello) is closer to my ideal. The cello is clearly on the right (sitting on his chair, so a little bit lower), the clarinet player at the left center and a little bit forward, and the piano is further back but filling the image from left to right. The A clarinet (by contrast to the more frequently use Bb used in the two sonatas) sweetens the sound and make it match very well with a cello. Despite the fact that it is less played than the clarinet quintet (also for A clarinet), this piece is full of magnificent melodies.
Sonata for clarinet and piano #1 op. 120: first movement allegro appassionata.
First some general comments that applies to both sonatas. The pitch is excellent between the piano and clarinet. Although the sound of the clarinet is a bit lacking in shape, the dynamic is very well preserved. The clarinet is a very dynamic instrument and since Mr Fröst follows the numerous dynamics indications in the music there are excellent contrast everywhere. Of course the pianist does the same thing and in fact shows a better sense of the music than the clarinet player. It is fantastic to follow the music with the actual score (I used the piano part that also contains the clarinet part on top in its original tonality).
At bar 94 (2 :45) a real p followed by a real pp. The pianist is a bit unequal in some of the most technical passages (bar 183, 5:17) but this is a fiendishly difficult piano part. Old Brahms must have been a really good piano player with large hands. The lower register of the piano is solid and powerful without overwhelming the sound take.
Second movement andante un poco adagio
The interpretation is too metronomic on the clarinet part. All the problems I had with the Mozart SACD are back in this specific movement. Very nice sound and control but total lack of rubato. The clarinet seems unwilling to sing the beautiful music. Ironically the piano player does it a lot better (bar 21, 1:21). So why is Martin Fröst not able to just imitate his partner is beyond me, it is so much easier to make a clarinet sing than a piano! Fortunately this is the only track on this SACD with this problem.
Third movement allegro grazioso
Ah so much better…. Outstanding flexibility and control in the clarinettist playing. For example in the jumps to an high D (bar 34, 43 sec). At bar 47 (1:34) nice autumnal sound at the piano like rain drops. The clarinet is like a prudent walker that tries to avoid water puddles. At bar 76 (1:34) a long and expressive crescendo at the clarinet, finally some emotions. It is difficult to believe this is the same person that in the second movement.
Fourth movement vivace
Solid piano entrance strong and bright, it is always surprising to hear Brahms write happy music. Despite the fast tempo this is played really relaxed and free compared to the second movement. The clarinet player has a more than sufficient technique to be able to just have fun with the music. Both players exchange the melodies effortlessly and this is an excellent close to the first sonata.
Sonata #2 allegro amabile
The first movement of the second sonata is my favourite. The two musicians do a very good job of contrasting the quieter moments with the more forceful passages. The initial theme is very well played at the clarinet and the dynamic of p throughout is well respected. The theme is well sung at the clarinet (bar 22 :55) at bar 38 (1:43) great dynamic contrast.
Very impressive sound take of the lower register of the piano at bar 48 (2:08), the listener feel the power and weight of the instrument. At the other extreme very soft and mellow playing by the clarinet in the triplets (bar 78, 3:35). The musicians are really tryng to make every little details stand out. The accepting character of the tranquillo at the end (bar 157, 6:55) is very well shown by the two musicians.
Second movement allegro appasionata
The music is played a little too fast and furious for my own taste, but this approach has the benefit of increasing the contrast with the end of the first section (bar 66, 1:22) sustenuto which is played in on long fluid line by the clarinet. In this movement the piano player has my total respect, the Bb clarinet is playing with 4 flats (Ab), so the poor pianist is in Gb with 6 flats!
Third movement andante con moto.
This is a theme and variation movement. The theme start f at the clarinet, but the score indicates a change to p at the 4th bar which seems to be ignored by the clarinet player. This is a strange oversight because the 2 musicians have been generally very faithful to the score.
The first variation (bar 15 1:07) use syncopation to create a feeling of unreality, of floating in the air without direction. This is beautifully expressed by the pianist. The second variation (bar 29 2:05) showcases the low register of the clarinet.
The third variation (bar 43, 2:54) is normally interpreted in a playful and relaxed fashion. Here it is played in a very virtuoso way, very fast and intricate. The indication grazioso may have been neglected, but it is effective and spectacular.
The last variation (bar 57, 3:42) is played softly and re-use the syncopation approach of the first variation, but more for a feeling of peace and tranquility.
Fourth movement allegro.
The last movement is very short (only 2 minutes) and start by tight synchronized playing between the 2 musicians (in term of both pitch and rhythm). For example the chromatic descent in triplets at bar 115 (1:00) which may sound easy to play, but it is much harder to do as if only one instrument is playing. The movement closes on a series of arpeggios very well coordinated where you hear two equal voices answering each other. The multi-channel sound take makes the chords reverberate across the room as in a concert hall.
Trio for clarinet, cello and piano, op. 114, first movement allegro
The music starts dramatically with the cello, then the clarinet enters with the same flowing melody, and finally the piano. Bar 43 (1:31) second theme at the cello, long notes sustained by the two soloists, very good pitch and ensemble between the clarinet and cello. Due to the multi-channel recording, the lower register of the cello (bar 84-90, 2:50) takes added weight and fills in the listening room. Bar 97 (3:15) again magic unison between clarinet and cello. At bar 105 3:33 the clarinet and cello answer each other through scales, it is hard for a cellist to try to imitate the flowing technique of a clarinet but Mr Thedéen is up to the challenge. The movement closes magically by the clarinet and cello softly playing inversed arpeggios (one going up the other down) while keeping the pitch when the difference between the two may be several octaves. At the end they slow down with the clarinet going up and the cello plunging down for a final chord. Only this passage is worth the price of the SACD.
Second movement adagio
This movement can be considered has showcasing the cello which has the greater number of solo passages. The movement starts by the clarinet with a high C attacked very softly and seeming to appear out of nowhere. I think the clarinet is the only instrument (beside the human voice of course) that is capable of making such a gradual entrance.
The cello take over the theme and for once the clarinet must play the secondary role. At bar 15 (2:09) a very nice passage where the clarinet in the lower register supports the cello. Bar 22 (3:01) clarinet with long sustained notes accompanied by cello pizzicatos, this really is Brahms with its typical autumnal feel.
Bar 31 (4:10) another delicate passage where the clarinet, although in the higher register, must let the cello stand out with the main musical line. After another cello solo (bar 33, 4:30) a very long decrescendo (bar 42, 5:44) on a melody by the cello and clarinet is supported by the piano doing triples without overloading the main melody.
3ičme movement Andante
This movement reminds of the second movement of the second sonata. It starts by a flowing them at the clarinet. This theme is then taken by the piano (bar 25 :33) which sings as nicely as the clarinet. This piano player is really very good. There is an elegant trio that starts at bar 114 (2:22). The clarinet must play sextuplets with a register jump between the first note and the other 5. This is hard to play without pushing to hard on the first note, and Mr Fröst is very adept at playing these difficult passages evenly and making them sound easy.
4ičme movement Allegro
This movement gives a more important part to the piano and could be described has a duet between a piano and a hybrid instrument made of a clarinet and cello.
The chosen tempo is fast and the emphasis on the dramatic. For example, at bar 28 (:36) the accents are forceful creating a maximum contrast with the initial theme. At bar 37 (:48) the melody is well sung by the cellist, but the musician caught in his emotion is breathing like a bull at each musical phrase (this also happened elsewhere in the recording, but here it is a bit ridiculous). Singer and wind instrumentist all learn how to minimize breathing noise (and to suck in a lot of air very quickly).
At bar 55 (1;17) nice hesitation (suspension?) of the rhythm, between the clarinet and cello. At bar 127 (2:53) another nice dynamic contrast. At bar 155 (3:38) very nice balance between the 3 players until the end of the movement. Again I think the multi-channel presentation is very useful in making every details audible because of the pinpoint image of each instrument. Congratulations to the musician and sound technicians.