CARL MARIA VON WEBER FRANZ KROMMER Clarinet Quintets
GCD 920610
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Eric Hoeprich, clarinet
London Haydn Quartet: Catherine Manson, violin Michael Gurevich, violin & viola John Crockatt, viola Jonathan Manson, violoncello —
Production details
Total playing time 63:13 Recorded at St Martin’s Church, East Woodhay, Hampshire, in June 2019 Engineered and produced by Philip Hobbs Booklet essay by Eric Hoeprich English – Français – DeutschMade in the Netherlands
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CARL MARIA VON WEBERFRANZ KROMMERClarinet QuintetsCarl Maria von Weber (1786-1826)Clarinet Quintet in Bb major, op. 3401 Allegro02 Fantasia03 Menuetto: Capriccio Presto04 Rondo: Allegro giojoso
Heinrich Baermann (1784-1847)05 Adagio (from Quintet op. 25, no. 3)
Franz Krommer (1759-1831) Clarinet Quintet in Bb major, op. 95 06 Allegro moderato 07 Adagio 08 Minuetto: Allegretto 09 Allegro
About this album
Carl Maria von Weber’s works for clarinet number among the most treasured and frequently performed compositions for the instrument. The sheer verve and imagination evident in the Clarinet Quintet, op. 34 presented here manages to embody the same operatic sensibility and compositional rigour of Weber’s large-scale works. Also included in the recording is an Adagio by Heinrich Baermann, whose clarinet playing served as inspiration for Weber’s compositions for the instrument, and the Quintet op. 95 composed by Franz Krommer.
Eric Hoeprich, principal clarinet of the Orchestra of the Eighteenth Century since its foundation, has specialized in performing on the historical clarinet, also being the owner of a large collection of 18th and 19th century instruments. On Glossa he has issued nearly a dozen of recordings, including the Mozart Clarinet Concerto directed by Frans Brüggen. His regular collaboration with the London Haydn Quartet lasts for many years now, with a referential recording of the Mozart and Brahms Quintets being an important highlight.
On this new recording, Hoeprich and the members of the London Haydn Quartet play on fine historical instruments, which provide a warm, blended sound that is at the same time both transparent and full of detail. All excellently captured by Philip Hobbs in St Martin’s Church in East Woodhay, England, and supplemented by an informative essay authored by Hoeprich himself.