Aaron Copland (1900–1990)
Concerto for Clarinet and String Band (1948)
Leonard Bernstein (1918–1990)
Prelude, Fugue and Riffs (1949)
Morton Gould (1913–1996)
Derivations (1955, revised 1965)
Artie Shaw (b. 1910)
Concerto for Clarinet (1940)
George Gershwin (1898–1937)
Selections: “Summertime” (1935, arr. Gregor Bühl), “They All Laughed” (1937, arr.
John Cameron), “The Man I Love” (1924, arr. John Cameron), “I Got Rhythm” (1930, arr. John Cameron)
Sharon Kam, clarinet
London Symphony Orchestra
Gregor Bühl, director
Recorded Olympic Studios, London, June and September 2001
Label: BRILLIANT 8573-88482-2
Duration: 61:20
This disc, a curious and beguiling anthology of American clarinet repertoire, sets out to juxtapose the revered with the lightly entertaining—or, more precisely, the canonical alongside the casually jazzy.
Sharon Kam’s clarinet tone here is a beguiling blend of silk and steel: her upper register; glimmers with a crystalline sheen, yet she can dig in when the music demands that gritty edge. The London Symphony Orchestra, under Gregor Bühl, provides a sumptuous backdrop although, at times, the ensemble’s lush string sound feels a little too polished, perhaps a touch too refined for the earthy, spontaneous world some of these pieces evoke. Copland’s Concerto for Clarinet and String Orchestra anchors the collection with its quintessentially American lyricism—both expansive and intimate.
Copland’s hallmark open intervals—the perfect fourths and fifths—float weightlessly above a transparent string texture that ripples like prairie wind. Kam’s phrasing here is marked by subtle rubato and a telling sensitivity to the concerto’s bittersweet nostalgia, especially in that poignant final movement. One might wish for a slightly more muscular string accompaniment in the virtuosic cadenza, but the overall tension and release remain compelling.
Bernstein’s Prelude, Fugue and Riffs is a breath of fresh, brassy air amid the more pastoral Copland. Originally crafted for Woody Herman’s band, this piece bristles with a frenetic, jazz-inflected energy. The fugue, in particular, reveals Bernstein’s deft contrapuntal skill, though it’s the riffs section where Kam truly shines—her — swinging articulation and tight rhythmic drive suggesting a clarinetist equally at home in a smoky New York jazz club.
The orchestra’s response, however, occasionally feels a shade tentative, hinting at the challenge of translating big-band idioms into a symphonic texture without losing bite. Morton Gould’s Derivations—a work that wears its jazz influences on its sleeve—is perhaps the least familiar but no less fascinating. The dialogue between clarinet and band is a playful negotiation of styles, blending classical formalism with jazz spontaneity.
The warm acoustics of the concert hall seem to breathe through the release.
Kam’s agility is impressively on display, negotiating rapid passagework with clear intonation and an almost conversational tone. The revised 1965 version benefits from Bühl’s assured pacing, though the orchestral balance sometimes tips toward the clarinet’s detriment, causing moments where the solo line struggles to cut through. Artie Shaw’s Concerto for Clarinet — originally written for film, adds a certain lightness to the program.
It’s charming but doesn’t quite reach the emotional or structural depths of the other works. Kam delivers it with an infectious joie de vivre—her tone warm, with a slight bite that recalls the swing era’s clarinet giants—but the piece itself is, frankly, more novelty than masterpiece. Still, it’s an essential palate cleanser in such a varied program.
Then come the Gershwin arrangements, a suite of beloved tunes transformed here into orchestral showpieces. The orchestral color is rich, and — well — Kam’s tone is lush and sensuous on “The Man I Love,” capturing the song’s yearning with remarkable subtlety. Yet the familiar melodies—”Summertime,” “I Got Rhythm”—while expertly rendered, risk feeling a bit overfamiliar, their charm somewhat diminished by repeated exposure.
The arrangements, though skillful, occasionally lean toward the pastiche, lacking the raw spontaneity that made Gershwin’s originals so vital. In sum, this album is a fascinating mosaic of American clarinet music—its strengths; lie in showcasing the clarinet’s versatility from classical concerto formality to jazz-inflected exuberance. Kam’s playing is consistently superb: her tone, impeccable; her musicianship, deeply felt.
The London Symphony Orchestra’s pedigree is evident, though occasionally the orchestral sheen clashes with the jazzier idioms. For those seeking an introduction to mid-20th-century American clarinet repertoire, this disc offers a spirited, if uneven, survey. But it is Copland’s concerto that remains the undisputed jewel here—a work whose spacious lyricism and pathos continue to resonate profoundly.
A disc worth owning, albeit one best approached not as a unified artistic statement but as a collection of delightful vignettes—American sound worlds refracted through one clarinetist’s passionate lens.
