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Clarinet Classics at Riversdale

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Clarinet Classics at Riversdale Clarinet Classics at Riversdale RobeRt DiLutis DE 3561 clarinet MeLLifeRa QuaRtet 1 DELOS DE 3561 CLARINET CLASSICS AT RIVERSDALE RIVERSDALE DELOS DE 3561 CLARINET CLASSICS AT DELOS DE 3561 CLARINET CLASSICS AT RIVERSDALE RIVERSDALE DELOS DE 3561 CLARINET CLASSICS AT Clarinet Classics at Riversdale RobeRt DiLutis, clarinet MeLLifeRa QuaRtet ♦ ♦ ROBERT DILUTIS ROBERT ROBERT DILUTIS ROBERT WEBER: Quintet for Clarinet and Strings, Op. 34 ROZSA: Sonatina for Clarinet, Op. 27 GLAZUNOV: Reverie for Clarinet and String Quartet, Op. 24 KOCH: Monolog 3 for Solo Clarinet — — BAERMANN: Adagio for Clarinet and Strings MELLIFERA QUARTET MELLIFERA QUARTET OSBORNE: Rhapsody for Clarinet Total Playing Time: 60:22 Clarinet Classics at Riversdale CARL MARIA VON WEBER: Quintet for Clarinet and Strings in B-flat Major, Op. 34 (28:32) 1. Allegro (10:58) 2. Fantasia (5:41) 3. Menuetto, capriccio presto (5:36) 4. Rondo, allegro giocoso (6:17) MIKLÓS RÓZSA: Sonatina for Clarinet, Op. 27 (9:49) 5. Tema con variazioni (6:24) 6. Vivo e giocoso (3:25) 7. ALEXANDER GLAZUNOV: Rêverie orientale (6:44) ERLAND VON KOCH: Monolog 3 for Solo Clarinet (5:49) 8. Andante sostenuto (2:46) 9. Allegro molto vivace (3:03) 10. HEINRICH JOSEPH BAERMANN: Adagio for Clarinet and Strings (5:01) 11. WILLSON OSBORNE: Rhapsody for Clarinet (4:27) Total playing time: 60:22 Robert DiLutis, clarinet Mellifera Quartet: Catherine Gerhiser and Christina Wensel, violins; Nicholas Hodges, viola; Benjamin Wensel, cello 2 Preface Fast forward six years: In 2018 the Riv- ersdale Chamber Music Society celebrat- hen I first moved to Riverdale, ed its sixth season at the mansion and Maryland, in 2012, I was imme- we are now releasing this recording, our Wdiately enchanted by the beauty first-ever produced in this historic space. of the Riversdale House Museum. This We have presented many remarkable wonderful house, built in 1806, seemed concerts featuring military band and or- like the perfect location for a concert se- chestra members, University of Maryland ries. Within days I approached the director School of Music students and local musi- of the mansion about creating a perfor- cians. This recording features the Mellif- mance series and I was delighted to find era String Quartet, an extremely flexible, that there was interest. dynamic and highly skilled group that has Etching of Riversdale House Museum 1827 RB 286000, Pt. 2, The Huntington Library, San Marino, California 3 performed throughout the United States. Notes on the Program It was a joy to work with them as we prepared for this recording. Many of the Carl Maria von Weber (1786–1826): works have been performed at the man- Quintet for Clarinet and Strings in B-flat sion during our concert series, and I hope Major, Op. 34, J. 182 (1811–1815) you will enjoy this small sampling of some of the great music performed there. My first encounter with the Weber Quintet took place when I was twelve years old and studying clarinet with William Blayney in About the Mansion Baltimore. During one of my many two or three hour lessons (yes, Mr. Blayney gave Home to the Riversdale Chamber Music So- long lessons), I received a cassette of some ciety, the Riversdale House Museum, a gra- of his favorite recordings to help me devel- cious Federal-era mansion, was built in the op a better concept of clarinet sound. What early nineteenth century. It was home to Ro- he didn’t realize was that side two of that salie Stier, an immigrant from Antwerp, and cassette contained his own recording of the her husband, George Calvert, a descendant Weber Quintet. At my next lesson I asked of Maryland’s founding family. Mrs. Calvert him about this work and he said he had wrote to her brother that her busy life as the forgotten about the recording, which was mistress of a large estate left her with little made when he was a student at the Pea- time to play music, but, she added, “music body Conservatory. After my first hearing, makes me more sociable.” my father John DiLutis (a musician with the 229th Army Band at that time) took me to According to Riversdale History and Mu- a local music store to find the sheet music. seum Specialist Ann Wass, PhD, one of What I found, however, was not the quintet the Calverts’ sons founded the Maryland but Gustave Langenus’ arrangement of the Agricultural College on part of the estate. adagio and rondo movements with piano, This institution evolved into the University called “Fantasia and Rondo.” Two years lat- of Maryland, College Park. The Riversdale er I was able to learn and study the piece House Museum continues to value its ties with Mr. Blayney, implanting a love for this to music and to the university, and is the work that continues to this day. proud host of the Riversdale Chamber Music Society. The quintet, in four movements, is for clarinetists a dream come true. The writ- 4 ing flows beautifully between registers movement. The work clearly demonstrates and showcases the instrument’s versatility. Rózsa’s love of Hungarian music and the From the soaring altissimo scales to the influence it had on all of his writing. Róz- sustained beauty of the chalumeau regis- sa’s travels as a youth through the coun- ters, Weber clearly understood the clari- tryside of Hungary are evident: He uses net. He wrote the quintet for his friend traditional harmonies and folk-like melo- Heinrich Joseph Baermann, the great Ger- dies to create a haunting opening theme. man clarinetist, whose Adagio for Clarinet Toward the end of the first movement you and Strings is also featured on this record- can clearly hear the influence of rhapsodic ing. In 1811 Baermann and Weber toured folk music. The final page of the variations through Austria and Germany. Baermann’s ebb and flow like a Romani violinist, and eloquent performances helped establish the virtuoso passages challenge every clar- Weber’s reputation as a composer, and inetist. The second movement is a raucous Baermann’s influence is heard in Weber’s Gypsy dance with odd meters and intense brilliant writing for the clarinet. drive. Rózsa’s exploration of rhythmic pulse and harmonic movement are evident as he Miklós Rózsa (1907-1995): modulates from key to key and ends in a Sonatina, Op. 27 (1951) fiery finish. If you love film scores, then you will love Alexander Glazunov (1865-1936): the music of the exceptional Hungari- Rêverie orientale (1886) an-American composer Miklós Rózsa. One of the most prolific film composers of the Rêverie orientale, by the famous Russian twentieth century, Rózsa wrote more than composer Alexander Glazunov, reflects one hundred film scores and dozens of the mysterious and sometimes misun- other works. The Sonatina for Clarinet, derstood cultures of Asia. Written during written in 1951 when he was 44, was his a time when many European composers first unaccompanied work for a solo instru- and artists were trying to depict the mu- ment and is one of two works he wrote for sic and art of the cultures of the Middle clarinet alone, composed more than thir- East and South and East Asia, this work ty-five years apart. The Sonatina, unlike the exemplifies a style that came to be known longer Sonata, is a two-movement work as “Orientalism.” This musical style was consisting of a theme and variations in the loosely based on second-hand accounts first movement and a brisk allegro second of Asian music and the study of other Eu- 5 ropean artists’ interpretations. Glazunov Heinrich Joseph Baermann (1784-1847): achieves a beautiful and reflective mood Adagio for Clarinet and Strings from the in this single-movement work, and the Quintet No. 3, Op. 23 (1821) feeling of melancholy could possibly be attributed to his reflection on the histor- I first found this work at a local music ical conflicts and suffering that took place store under the title “Wagner’s Adagio.” during the various wars between Russia To my surprise, I later learned the work and other countries in Asia. When Glazun- was actually composed by the aforemen- ov wrote the piece at age 21, he had never tioned Heinrich Joseph Baermann. The traveled to the Far East, yet he is able to Adagio was finally correctly attributed to bring a fresh understanding to this musi- Baermann in the 1970s, when it was dis- cal style. covered that it came from his Quintet for Clarinet and Strings in E-Flat Major, Op. Erland von Koch (1910-2009): Monolog 3 23. The Adagio is full of extremely emo- tional phrases and sensitive character and Swedish composer Erland von Koch wrote endures on its own as a one-movement six symphonies, an opera, concertos, bal- piece. lets, songs and chamber music. His Mono- log No. 3 for solo clarinet is one of my Willson Osborne (1906-1979): favorite unaccompanied works and is one Rhapsody (1952) of eighteen Monologs von Koch wrote for various instruments. Its opening mel- I was first introduced to this short work ody, a mysterious and haunting theme, by American composer Willson Osborne showcases von Koch’s love of Swedish when I was in high school. The practical melodies. It then slowly and methodical- approach of finding a piece to play alone, ly transforms into a tirade of emotion. without the burden of needing a pianist, The work quickly and seamlessly returns brought me to the Rhapsody, Osborne’s to its somber opening. This movement best-known work. The piece is highly de- fades into nothingness and could only be manding because of the composer’s de- followed by something more lively.
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