Composer: Aaron Copland, Leonard Bernstein, Morton Gould, Artie Shaw, George Gershwin
Works: Concerto for Clarinet and String Orchestra (1948), Prelude, Fugue and Riffs (1949), Derivations (1955, rev. 1965), Concerto for Clarinet (1940), 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)
Performers: Sharon Kam (clarinet), London Symphony Orchestra, Gregor Bühl
Recording: Olympic Studios, London, June and September 2001
Label: BRILLIANT
The intersection of classical and jazz idioms has marked a significant chapter in American music, with the clarinet often serving as a bridge between these two realms. This collection, featuring prominent works from the mid-20th century, showcases the diverse stylistic approaches of Aaron Copland, Leonard Bernstein, Morton Gould, Artie Shaw, and George Gershwin. Each composition reflects not only the individual voice of its creator but also the cultural milieu of a country grappling with its identity in the post-war era, where jazz began to be embraced within the classical canon.
Sharon Kam’s performance of Copland’s Concerto for Clarinet and String Orchestra stands out as a high point of this recording. Written for the illustrious Benny Goodman, Copland’s work is a masterclass in lyrical expression, contrasting the clarinet’s sweet tones against the lush strings. Kam navigates the intricate passages with finesse, her phrasing imbued with a fluidity that captures the work’s inherent jazz influences while retaining a classical poise. The interplay between her clarinet and the orchestra is particularly compelling in the second movement, where the clarinet’s mournful melodies soar above the strings’ gentle undulations, evoking a poignant sense of introspection.
Bernstein’s Prelude, Fugue and Riffs, originally conceived for Woody Herman’s band, is a tour de force of rhythmic vitality and complex counterpoint. Under Gregor Bühl’s direction, the London Symphony Orchestra imbues the piece with a buoyancy that reflects its jazz origins, while Kam’s execution of the clarinet part is both exuberant and precise. The lively exchanges in the fugue section are particularly notable, with Kam’s articulation cutting through the orchestral fabric with clarity, echoing Bernstein’s own dynamic conducting style. This interpretation encourages a spirited dialogue between the soloist and the ensemble, heightening the work’s celebratory character.
Morton Gould’s Derivations demonstrates the composer’s penchant for blending popular music with classical forms, creating a tapestry rich in rhythmic complexity and melodic charm. Kam’s vibrant tone and deft technical skill shine as she traverses the varied styles encapsulated in this piece, from the playful to the reflective. The recording captures the nuances of her performance with impressive fidelity, allowing listeners to appreciate the subtleties of her phrasing and the dynamic interplay with the accompanying band, which is crucial to the work’s impact.
Artie Shaw’s Concerto for Clarinet, written for the film Second Chorus, serves as a delightful interlude with its lighthearted charm and nostalgic flair. Kam’s interpretation captures the essence of Shaw’s style, blending virtuosic passages with lyrical interludes. The orchestral accompaniment, though lighter in texture compared to Copland or Bernstein, provides a suitable backdrop that complements the clarinet’s playful spirit.
The Gershwin arrangements, seamlessly woven into this collection, serve to round out the program with familiar melodies that resonate with audiences. Kam’s interpretations of these classics, particularly “Summertime” and “The Man I Love,” are infused with a sense of longing and warmth, showcasing her ability to evoke emotion through subtle nuances in her playing. The arrangements by Gregor Bühl and John Cameron are executed with clarity, retaining the essence of Gershwin’s genius while allowing Kam’s artistry to shine through.
This recording is not merely a compilation of American classics; it is a vibrant celebration of the clarinet’s versatility and the rich tapestry of American music. The impressive synergy between Sharon Kam and the London Symphony Orchestra, coupled with the superb engineering of the recording, ensures that each work is presented in its best light. The clarity of sound and balance between soloist and ensemble allow listeners to appreciate the intricate dialogues and textures that define these compositions.
A noteworthy addition to the discography of American clarinet works, this collection not only showcases the genre’s evolution but also affirms the clarinet’s rightful place within the broader spectrum of classical music. The artistry displayed here, particularly by Kam, ensures that these American classics resonate with both historical significance and contemporary relevance.
