Contemporary Clarinet Works: Orquestra de Clarinetes’ Captivating Performances of Marecos and Azevedo

Composer: Contemporary
Works: Aguas Neves (Carlos Marecos), Monumentum pro Gora Kalwaria (Sergio Azevedo), Uma Sombra Tambem (Antonio Sousa Dias), Colibri (Paulo Brandão), Agio (Sergio Azevedo), Vingt-sept Cristaux Pour Nelson (Jorge Pereira), Monodrama (Sergio Azevedo), Transparencias (Luis Machado Pinto)
Performers: Sergio Oliveira (clarinet), Paulo Gaspar (clarinet), Nelson Caetano (clarinet), Orquestra de Clarinetes
Recording: PBStudio, Brejos de Azeitao, Portugal, July 19-23, 1999
Label: Strauss SP 4338

Contemporary Portuguese clarinet music, though often overshadowed by the broader European canon, emerges here as a distinctive voice through the lens of a new generation of composers. This recording offers a curated selection of works from the late 20th century, showcasing the evolving landscape of Portuguese composition. The composers featured, primarily educated at the Escola Superior de Música de Lisboa, reflect a burgeoning artistic milieu that, while still finding its footing on the international stage, presents intriguing sonic explorations worthy of attention.

The performances, led by the Ensemble Clarinet Modus, exhibit a collective sensitivity to the nuances of each composition. Marecos’s “Aguas Neves,” for instance, unfolds with a languorous grace, the clarinet weaving an intricate tapestry of sound that ebbs and flows with the elegance of water. The performers navigate the piece’s meandering lines with a lyrical fluidity, though one might wish for a more pronounced dynamic contrast to accentuate the emotional depth embedded in Marecos’s writing. In contrast, Azevedo’s “Monumentum pro Gora Kalwaria” employs a more fragmented approach, with its sharp articulations and contrasting textures challenging the listener’s perception of continuity. Here, the ensemble’s precision shines, though the overall pacing feels slightly rushed, diminishing the impact of the work’s contemplative moments.

Recording quality, while adequate, lacks the clarity that might elevate the listening experience. The electronic treatments incorporated throughout various pieces render the soundscape complex, yet the balance between the acoustic and electronically modified clarinets often feels uneven. In “Transparencias,” by Machado Pinto, the electronic effects serve to enhance the work’s ethereal qualities, yet the subtleties of the clarinet’s timbre can sometimes be obscured. A more refined engineering approach could amplify the distinctiveness of each composer’s voice, allowing for a clearer delineation of the sonic palette.

Comparatively, this collection does not quite resonate with the vibrancy found in the recordings of contemporary works by established figures such as Kaija Saariaho or Magnus Lindberg, whose compositions often feature a wider array of instrumental color and innovative techniques. However, the Portuguese composers here present an earnest attempt at exploring new territories, albeit within a relatively constrained idiom.

The accompanying documentation, unfortunately, falls short of expectations, lacking a comprehensive English translation and providing minimal context for each work. Such oversight diminishes the potential engagement with this music, which thrives on intellectual exploration as much as it does on auditory experience.

This recording serves as a commendable introduction to the contemporary Portuguese clarinet repertoire, highlighting the potential for growth in this niche. While the individual works may not yet compete with more prominent European compositions, they nonetheless offer valuable insights into the artistic aspirations of a generation seeking to carve out its identity. The performances, though occasionally lacking in dynamism and the recording quality not fully capturing the intricacies of the compositions, demonstrate a promising foundation for future explorations in this rich, yet underrepresented, musical landscape.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.