CHAN 241-36

Complete Weber Works for Clarinet Janet Hilton clarinet

City of Birmingham Symphony Orchestra Neeme Järvi Lindsay String Quartet Keith Swallow piano

21 (1786 –1826) Complete Works for Clarinet

COMPACT DISC ONE 1 Concertino in C minor, Op. 26 (J 109)* 9:04 for clarinet and orchestra Allegro – Adagio ma non troppo – . Allegro

Clarinet No. 1 in F minor, Op. 73 (J 114)* 20:29 2 I Allegro 8:07 3 Painting by Caroline Bardua/Lebrecht Music & Arts Photo Library II Adagio ma non troppo 5:47 4 III Rondo. Allegro 6:34

Clarinet Concerto No. 2 in E fl at major, Op. 74 (J 118)* 22:08 5 I Allegro 8:24 6 II Romanza. Andante con moto – Recitativo – I 7:19 7 III Alla polacca 6:23 TT 51:42

Carl Maria von Weber 3

CCHANHAN 241-36241-36 Booklet.inddBooklet.indd 22-3-3 221/12/061/12/06 12:00:0212:00:02 COMPACT DISC TWO in B fl at major, Op. 34 (J 182)† 28:21 Weber: Complete Works for Clarinet 1 I Allegro 10:32 2 II Fantasia. Adagio ma non troppo 6:00 3 III Menuetto. Capriccio presto – Trio 5:34 Since I composed the Concertino for Montgelas, a minister of Maximilian I, and 4 6:14 IV Rondo. Allegro giocoso Bärmann, the whole orchestra has been in the principal clarinettist of the orchestra of the very devil about demanding which he speaks so affectionately in his letter, Grand duo concertant in E fl at major, from me… two clarinet concertos (of the great virtuoso Heinrich Joseph Bärmann. Op. 48 (J 204)‡ 21:01 which one in F minor is nearly ready), Like Mozart with Stadler, and later Brahms for clarinet and piano two large arias, a cello concerto, a with Mühlfeld, Weber was captivated by the 5 I Allegro con fuoco 9:03 concerto. You see I am not doing expressive possibilities of the clarinet, and 6 II Andante con moto 5:38 at all badly, and very probably I’ll be in particular by Bärmann’s artistry on it (a 7 III Rondo. Allegro 6:19 spending the summer here, where I’m contemporary account speaks of ‘technique, earning so much that I’ve something left sentiment and delicacy of tone alike’). He 8 Variations on a Theme from ‘’, over after paying my keep. was immediately struck by the clarinet’s dark Op. 33 (J 128)‡ 15:22 So wrote Weber from Munich in April 1811. lower register – later used in the ‘Wolf’s for clarinet and piano He might justifi ably have added ‘and not Glen’ scene in Der Freischütz – and by its TT 64:45 before time’, for throughout a great part of brilliant quality at the opposite end of the his life, Weber, never the most physically spectrum – which offered rich possibilities robust of men, had to work unreasonably for a lively coloratura style of writing – in Janet Hilton clarinet hard simply to pay his way in the world. addition to its unrivalled potential for leaping ‡ Keith Swallow piano Matters improved signifi cantly, however, in and trilling between the two extremes. Lindsay String Quartet† the early months of 1811. After an unhappy Composer and clarinettist had already met Peter Cropper violin episode involving charges of embezzlement several months earlier in Mannheim (home of Ronald Birks violin against his father, and disappointed in the renowned orchestra whose clarinets, soft Roger Bigley viola his hopes of fi nding a permanent post in and rich-toned in the German manner, had Bernard Gregor-Smith cello Darmstadt, Weber set off on a concert tour set a distinguished example), and, granted a City of Birmingham Symphony Orchestra* of southern Germany, fi nally arriving in concert in Munich on 5 April by the King of Barrie Moore leader Munich. There he found a sympathetic Bavaria, Weber set to work on a concertino Neeme Järvi* musical ear in the person of Josef von for Bärmann to play on his recently acquired

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CCHANHAN 241-36241-36 Booklet.inddBooklet.indd 44-5-5 221/12/061/12/06 12:00:0412:00:04 ten-key instrument. Within a fortnight the there follow two variations which demand in Weber’s estimation, any composer worth imagination is at its most striking. To begin work was completed, and the concert, which both dexterity and expressiveness of the the name ought to have at his command. with, play a vital, luminous role also included Weber’s First Symphony soloist. Then, unexpectedly – for is this not The expression within the works, however, is in the opening texture, tellingly blended and Der erste Ton for reciter, chorus and too lightweight a piece for what follows? –, original and characteristic. If Beethoven wrested with clarinet and strings, yet it is the slow, orchestra, was immediately sold out. Such the music comes to a rest, leaving only a his inspiration from traditional forms, Weber chorale-like duet of the soloist with three compositional fl uency can have allowed soft drum roll lingering in the air. Here, in happily accommodated himself to them. horns at the centre of the movement which Bärmann little time to study the work’s a Lento aria of just twenty-one bars, is the While the opening of Clarinet Concerto afterwards lingers in the inner ear. Here, in considerable technical details as much as he Weber of the darker side of German romantic No. 1 in F minor, Op. 73 may be German romantic literary tradition, is the would have liked. The Concertino’s success, theatre, melancholy and lyrical, with the Beethovenian in spirit, its stalking, sotto voce as instrument of the night, evoking however, was instantaneous. The King clarinet low in the chalumeau register against character soon shows itself to be perfectly pastoral landscapes and forests bathed in immediately requested two more clarinet piano divided violas. An Allegro fi nale in compatible with the virtuosity and spirited moonlight. (For Bärmann, in later years, works from Weber, this time concertos on 6/8, complete with a brief ‘hunting horn’ invention of the solo writing. After the the passage was to assume the nature of a a full scale, and these were written during interjection, rounds off the piece in lively fi rst, F minor paragraph, there is a pause, lament. For a memorial concert for Weber the following May and July. Three further and virtuosic fashion. and the orchestra leads off in distant D fl at in 1831, he arranged it for clarinet and works for Bärmann to play (the Quintet, the Aside from the First Piano Concerto, major, with solo writing of deftness and three male voices to words by Eduard von Grand duo concertant and a set of variations written a year previously, in 1810, the two lyrical warmth. There is a particularly lovely Schenk: ‘He is on High, the creator of these on a theme from Weber’s opera Silvana) concertos for clarinet and orchestra fi nd Weber episode which opens softly in C minor, and sounds… [which] alone live on here below’.) were to follow within the next fi ve years. coming to grips for the fi rst time with the which glides to and fro between major and The gracious company of these instruments In essence the Concertino in C minor, traditional three-movement concerto form. minor with the gentle air of melancholy remains with the soloist until the end of the Op. 26 is a scena for clarinet and orchestra, a Perhaps it was the commission from so lofty reminiscent of the Weber of German movement. set of variations which leaves an impression a source as the King of Bavaria that decided romantic theatre. The approach to the coda The playful, syncopated theme which of continuous development rather than any Weber against formal innovation; at least as confi rms the impression: in the same spirit opens the Rondo fi nale quickly dispels the conventional step-by-step embellishment of far as their fi rst movements are concerned, of tenderness and goodness that was to evoke nocturnal atmosphere. Yet there is room a theme. There is a sombre Introduction in the two clarinet concertos fall fairly easily the appearance of Agathe in Der Freischütz for lyricism too, notably in the form of a C minor (much in the style of a recitative), into the classical mould, and the orchestral ten years later, horns intone the opening graceful passage in D minor. Here, once at the end of which the horns softly intone resources of each are conventionally of that theme of the movement, to which the clarinet again, the texture is warmed by the presence the dominant, as if to return to the home period – two each of fl utes, , bassoons, replies against soft tremolando strings. The of bassoons, and there is a characteristic key. Instead, however, the scene lightens into horns (three of the latter in the Adagio of movement dies away, ppp, in the minor key. excursion into the fl attened supertonic E fl at major for the theme itself, vocal and No. 1) and , with and It is in the Adagio ma non troppo that (E fl at major). The rondo theme returns, Italianate, and after a brilliant orchestral reply strings. So much for the medium which, the originality of Weber’s orchestral this time with contributing a delightful

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CCHANHAN 241-36241-36 Booklet.inddBooklet.indd 66-7-7 221/12/061/12/06 12:00:0412:00:04 counterpoint. A thoroughly virtuosic episode happy unless he had a libretto to work on.) there seems little doubt that he acquitted Carl Maria von Weber was not to occur for in B fl at major precedes the fi nal return of the The movement, a Romanza in gentle 6/8, himself with some distinction – ‘godlike’ another two years. theme and an exuberant coda. is introduced by two characteristic bars of wrote Weber in his diary – and that the fi rst Bärmann had the fi rst opportunity The fi rst movement of Clarinet Concerto low, divided violas and pizzicato cellos, and audience, greeting the work ‘with frantic to show Weber his virtuosity at a special No. 2 in E fl at major, Op. 74 fi nds Weber’s embodies a solo melody of beguiling vocal applause’ on 25 November 1811, was indeed concert sponsored by the Grand Duke to melodic fl uency and elegance even more simplicity. Further testimony to operatic ‘dazzled’. whom the composer had wisely dedicated happily wedded to the demands of sonata inspiration is evident: in the leisurely, his opera in 1811. For the © Andrew Keener form, and while the course of events is wide leaps of the solo line; in a darker, concert Weber had composed a duet, defi ned with noticeably greater clarity than more turbulent improvisatory section with Se il mio ben, for two contraltos with in the companion work, there is no suspicion tremolando strings; and in a brief Recitativo Great instrumental works are invariably instrumental accompaniment, including a of any cramping of style. If anything, indeed, ad lib before the close of the movement. inspired by great instrumentalists, and this clarinet obbligato which had been brilliantly the reverse is the case, for here Weber is at A tiny, ppp echo of the opening pizzicato is certainly true of works written for the played by Bärmann. Their friendship was his most relaxed, offering solo writing of an fi gure brings this lovely Andante to a close. clarinet. In our own time Thea Musgrave’s cemented when they met again in Munich easy grace which no doubt refl ects much With the sprung, syncopated gait of highly individual Clarinet Concerto was later the same year, brought together by of Bärmann’s own style of playing. After its opening theme, the Alla polacca fi n a l e composed for Gervase de Peyer, the recipient a mutual love for the clarinet, Weber’s two exuberant downward plunges from the is echt-Weber. The passage of ricocheting of several fascinating contemporary works favourite instrument. Weber immediately orchestra (might Weber have subconsciously fortissimo semiquavers is briefl y interrupted for the clarinet. A century ago Brahms composed a concertino which Bärmann retained a memory of similar bars at the by a graceful episode in C major (a melody was inspired by the playing of Richard played at a concert on 5 April, and which equivalent point in Mozart’s Piano Concerto echoed by violins, then oboe), no doubt a Mühlfeld, for whom he composed some of was so successful that the King of Bavaria KV 482, also in E fl at?), the clarinet enters welcome breathing-space for the soloist. It is his most eloquent chamber music, while commissioned two concertos for the fortissimo, bestriding three octaves in a short-lived, however, for after a mischievous Mozart wrote his Clarinet Concerto and instrument from Weber. The two clarinet single, bravura leap – a magnifi cent gesture. ‘wrong key’ hint at the principal theme fi ne Clarinet Quintet as the result of his concertos, the fi rst in F minor and the Throughout, the fi guration is more evidently of the movement, and an exuberant meeting one of the instrument’s earliest second in E fl at major, were written that virtuosic than in the opening movement of fi nal statement, the concerto hurtles to a champions, Anton Stadler. In Weber’s case busy year of 1811, and further enhanced the the F minor concerto, and the woodwind close amid a welter of clarinet sextuplets, the player was Heinrich Bärmann, the professional and private friendship between writing still more felicitous. guaranteed, says the Weber scholar John clarinettist of the famous Court Orchestra composer and instrumentalist. At the same In no part of these concertos is the Weber Warrack, ‘to dazzle any audience and burn of Munich. He was born in Potsdam in time Weber began work on a quintet for of German opera more vividly in evidence the fi ngers of most clarinettists’. Whether or 1784, when Mozart was twenty-eight, with clarinet and string quartet. than in the Andante con moto of this E fl at not Bärmann’s fi ngers emerged unscathed seven years still to live, when Beethoven was After Weber had begun sketching the work. (He was, he once claimed, never must remain a matter for conjecture, but a boy of fourteen, and when the birth of Clarinet Quintet in B fl at major, Op. 34

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CCHANHAN 241-36241-36 Booklet.inddBooklet.indd 88-9-9 221/12/061/12/06 12:00:0512:00:05 in 1811, life began to take him about a great obvious that this is a work for clarinet soloist most infectious, and a tour de force for a The opening movement, however, was deal, and it was not until two years later, in and strings, although the second subject is solo clarinet, although the strings do try written by a much happier man than the 1813, when he was able to settle for a time at fi rst presented by the cello. Once given to make a serious contribution, as in the Weber of the ‘Duo’, for his reputation had in Prague as Director of the Opera, that he its head, however, the clarinet shows the fi rst movement by starting the development developed so much in the meantime that returned to the work. His intention was to virtuosity and fl uency for which Bärmann section fugally. Only a sly try, however, for the mother of his beloved Caroline had include it in a special concert on 6 March, was famous, and which became such an the clarinet soon brings matters back to the fi nally agreed to their engagement. A surge but for some unknown reason he still failed enjoyable feature in works by Weber for virtuosic realm and ends the work with a of creative activity inevitably followed, to complete it, Bärmann having to he content fi ne soloists. The movement is basically in dazzling display of musical acrobatics. with a number of superb songs in addition with the knowledge that it was at least nearer classical , the recapitulation When Weber left Prague in June 1815, to the tremendously inventive Allegro con completion. Indeed, the quintet, which beginning with the strings in a kind of it was to return to a Munich in a state fuoco opening movement of the Grand duo Weber had started on 14 September 1811 at canon, but the clarinet always dominates in of carnival, for the news of the Battle of concertant. Jegisdorf in Switzerland, had a sporadic life. its ornamentation. The title Fantasia aptly Waterloo had arrived in the city on 18 June What is so exceptional about the The Fantasia was scored by 22 March 1812, describes the second movement, which is 1815. The streets were illuminated, fi reworks work as a whole is the division of work and Weber worked on the Menuetto in time really an aria for the clarinet. However, and salvos of canon were fi lling the air, and between the two players, the pianist and to give the fi rst three movements to Bärmann there are two unique moments in this Weber, of course, began plans for a Victory clarinettist being equally served with for his thirty-fi rst birthday, on 14 February elegiac movement, obviously included to Cantata! He stayed at fi rst with his old friend music of virtuosity, elegance, poetry and 1815. This proved to give Weber the accommodate one of Bärmann’s specialities. Bärmann, with whom he also gave a number invention. Weber has carefully composed necessary impetus to fi nish the work, the fi nal These are both chromatic scales, for which of concerts. One of the most successful of thematic material which is equally ideal for Rondo being completed on 25 August the the music suddenly stops in anticipation. these was a public concert at which Weber both instruments, yet seems, when being same year. Needless to say, however, the real The fi rst is played as loudly as possible, played his First Piano Concerto and then played, absolutely right for whichever is impulse to fi nish the quintet at that particular the second as quietly as the player can took part in what was called a ‘Duo for Piano in prominence. In the fi rst movement, for time came from the fact that the whole work accomplish the trip from a low D to the and Clarinet’. This was, in fact, to become example, the piano tends to take charge of was announced to be premiered at a concert high B fl at nearly three octaves above. the last two movements, Andante and Rondo, new ideas, but these are soon shared by the only one day later, 26 August 1815, when Both are highly dramatic gestures, but the of the Grand duo concertant in E fl at major, wind instrument. Bärmann at last gave the fi rst performance of contrast of individual character between Op. 48. The opening movement would not Even the central Andante con moto, which his long promised present. them is especially striking. be written until November 1816. The work, opens with a beautiful theme perfectly A deceptively gentle introductory fi fteen Cross-rhythms and cheeky syncopation therefore, was begun before the quintet tailored to the expressive tones of the bars by the strings lead to the entry of the inhabit the lively Menuetto, with its almost was completed in August 1815, but itself clarinet, played over throbbing chords in clarinet, with the fi rst of the two main Schubertian Trio, while the fi nal Rondo had to wait more than a year for its own the piano, continues with a new idea which subjects of the opening Allegro. It is soon is high-spirited, typical of Weber at his completion. is introduced and developed on the piano,

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CCHANHAN 241-36241-36 Booklet.inddBooklet.indd 110-110-11 221/12/061/12/06 12:00:0512:00:05 although it is the clarinet theme which patron Count Firmian on 14 December, music fi nished. In his diary he mentions the Stanford and Sir Malcolm Arnold, and brings the movement to a close. and Weber took that opportunity to ‘clever musicians’ and their ‘fi ne talent’; but four concertos written for her by Elizabeth Finally, in a lively Rondo, the clarinet’s introduce the delights of Silvana to Prague understandably, Weber, in his own diary, Maconchy, Alun Hoddinott, John McCabe virtuosity tends to dominate, although music-lovers through a set of Variations on writes of Goethe: ‘I did not like him!’ and Edward Harper. both players rush around their music with Mechtilde’s aria ‘Warum mußt’ ich dich je Janet Hilton has always combined solo © Denby Richards leaps and brilliant dashes. A particularly erblikken’, which he had already used in the and orchestral playing in her career, as impressive episode comes from the clarinet same way the previous year in the fi fth of his Principal Clarinet of the Scottish Chamber over piano tremolos in a D fl at major Six Progressive Sonatas for violin and piano. At the age of sixteen Janet Hilton won Orchestra, Welsh National Opera and passage whose pseudo-sinister character In fact, Variation II is practically the same a scholarship to study at the Royal Manchester Camerata. Also a distinguished anticipates the atmosphere of Der Freischütz, in both works. Manchester College of Music, and her career teacher, she is Head of Woodwind at the which Weber would begin a year later. The Silvana Variations were composed, as one of the foremost British clarinettists Royal College of Music, London, where she The Variations on a Theme from rehearsed and premiered on the day of was launched two years later with a directs the wind ensemble. She has given ‘Silvana’, Op. 33 were written in a great the concert, an indication not only of the concerto engagement for the BBC, followed master-classes at American universities and hurry, during a tour which Weber and musicianship and expertise of both Weber by success in a national young artists’ served on international competition juries in Bärmann undertook in 1811, the year and Bärmann, but also of the exceptional competition and a scholarship for further England, Ireland, Italy and Canada. in which Weber composed so many fi ne sense of ensemble which they shared. study in Vienna. Her natural musicality and solo clarinet works for his virtuoso friend. Although essentially full of showmanship, rhythmic vivacity were remarked on from Keith Swallow won a West Riding of The success of their tour enabled the pair the variations incorporate passages in which the beginning, one critic describing ‘the rare Yorkshire music scholarship at the age of to purchase a comfortable new carriage, Weber’s expressionism looks towards the lightness and grace, shaped with the quiet sixteen and went to study at the Royal in which they travelled for three days to future in an uncanny way. Not that this freedom of a great singer’ of her playing. Manchester College of Music, which Prague. They arrived on 4 December. appears to have been noticed by Goethe, She soon worked regularly with awarded him prizes, diplomas and the Regular concerts were already being who is recorded as having walked into a international artists such as Margaret M.Mus. Degree of the Royal College in organised for them in the city which had salon concert given by Weber and Bärmann Price, Steven Isserlis, Peter Frankl, Nobuko London, and later made him an Honorary premiered Mozart’s Don Giovanni only in the home of the Grand Duchess Maria Imai and the Lindsay String Quartet, Fellow. Well known as a performer twenty-four years earlier, in 1787. Paulovna, the sister of the Tsar of Russia, and with major British orchestras; she throughout the United Kingdom, he has Weber was anxious to have his opera when the touring pair were in Weimar has toured most European countries and played with several British orchestras, Silvana (1810) staged in Prague, and had in 1813. They were playing the Silvana appeared regularly in the United States. taken part at major British music festivals, been cordially received by Johann Liebich, the Variations at the time, but Goethe merely Her discography includes recordings of the such as the Harrogate, Cheltenham, King’s theatre director. Weber and Bärmann were sat down and began to talk to a lady next chamber music of Mozart, Brahms and Lynn, Leeds, Buxton, Chester and Three to give a concert in the home of the musical to him, rising to leave the room when the Weber, concertos by Nielsen, Copland, Choirs festivals, and performed in France

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CCHANHAN 241-36241-36 Booklet.inddBooklet.indd 112-132-13 221/12/061/12/06 12:00:0612:00:06 and Germany. He has appeared many Aldeburgh, Edinburgh and Florence festivals, prosper under the Finnish conductor Sakari Detroit Symphony Orchestra, Principal times on television, both the BBC and ITV, and at the BBC Proms. Oramo, who was appointed Principal Conductor of the Gothenburg Symphony broadcasts regularly as accompanist, soloist, Rooted in the European tradition of great Conductor in 1998 and Music Director in Orchestra since 1982, First Principal Guest chamber musician and piano duettist, and quartet playing, the Quartet’s interpretations 1999. Its performances are attended by more Conductor of the Japan Philharmonic has built up a substantial discography. were noted for their intensity, spontaneity than 300,000 people each year, and heard Orchestra and Conductor Laureate of the Although he considers himself to be and communicative power. The Quartet and seen by many millions more through Royal Scottish National Orchestra. Born primarily an accompanist, he is in constant performed more than 300 works and was its regular radio and TV appearances and in Tallinn, Estonia, he is one of today’s demand as a soloist and is widely known particularly acclaimed for its interpretations large discography. In constant demand to busiest conductors, making frequent guest for his performance of twentieth-century of Beethoven, Haydn and Bartók, considered perform all over the world, it also makes appearances with the foremost orchestras English piano music. by many to be without equal for imagination regular appearances at the BBC Proms and and opera companies of the world, including and insight. Its complete cycles of Beethoven’s the Aldeburgh Festival. Julian Anderson is the Berlin Philharmonic Orchestra, Royal The Lindsay String Quartet was formed in quartets became landmark events, and it the Orchestra’s Composer-in-Association, Concertgebouw Orchestra, Philharmonia 1966 at the Royal Academy of Music, where pioneered all-Haydn programmes at venues a post previously occupied by Mark- Orchestra, New York Philharmonic, Chicago its members were coached by Sidney Griller ranging from the English Haydn Festival’s Anthony Turnage and Judith Weir, among Symphony Orchestra, Philadelphia Orchestra, and won all the prizes for quartet playing. St Leonard’s Church at Bridgnorth, others. While a busy education department Sydney Symphony Orchestra, Melbourne Appointed to a Leverhulme Fellowship at Shropshire and the Sheffi eld Crucible to co-ordinates an extensive programme of work Symphony Orchestra, The Metropolitan Keele University in 1967, one of the pioneer, the Carnegie and Wigmore halls. Having with schools and in the local community, Opera, San Francisco Opera, Opéra national fully residential quartet posts, the Quartet experienced only one change in personnel, the the Orchestra runs a chamber music series at de Paris-Bastille and the major orchestras of took its name from Lord Lindsay, Vice- Lindsay String Quartet disbanded in 2005. CBSO Centre, and four ‘unpaid professional’ Scandinavia. He also directs a conductors’ Chancellor of the University. After six years at choruses which are regularly in demand master-class in Pärnu, Estonia, for two the University of Sheffi eld it became Quartet The City of Birmingham Symphony to perform with leading orchestras and weeks each July. Neeme Järvi has amassed in Residence at the University of Manchester. Orchestra is the resident orchestra of musical groups. Recently it founded a youth a distinguished discography of more than Whilst at Keele the Quartet had studied Symphony Hall, Birmingham, and one of orchestra, which has recruited the best young 350 discs, and many accolades and awards further with Alexandre Moskowsky of the the world’s foremost symphonic ensembles, musicians aged fourteen to twenty-one from have been bestowed on him worldwide. He Hungarian Quartet, which led to numerous having worked with many leading the East and West Midlands regions. holds honorary degrees from the University visits to the United States and Hungary. international conductors since its inaugural of Aberdeen, the Royal Swedish Academy of Tours and radio broadcasts all over Europe concert in 1920, conducted by Sir Edward Since 2004 Neeme Järvi has been Principal Music and the University of Michigan, and cemented its reputation as one of the world’s Elgar. It established itself as a major force Conductor of the New Jersey Symphony has been appointed Commander of the Order foremost string quartets. It appeared regularly during its eighteen-year association with Orchestra. He is also Music Director of the of the North Star by the King of Sweden. at the Bath Festival and also performed at the Sir Simon Rattle, and has continued to

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CCHANHAN 241-36241-36 Booklet.inddBooklet.indd 114-154-15 221/12/061/12/06 12:00:0612:00:06 Also available Also available

The Essential Paul Dukas Elgar CHAN 241-32 Complete Works for Wind Quintet CHAN 241-33

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CCHANHAN 241-36241-36 Booklet.inddBooklet.indd 116-176-17 221/12/061/12/06 12:00:0712:00:07 You can now purchase Chandos CDs online at our website: www.chandos.net For mail order enquiries contact Liz: 0845 370 4994 Any requests to license tracks from this CD or any other Chandos discs should be made direct to the Finance Director, Chandos Records Ltd, at the address below. Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, H. Frederick Stucker Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201 The City of Birmingham Symphony Orchestra website: www.cbso.co.uk The Lindsay String Quartet recorded by permission of ASV Records Ltd.

Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Bill Todd (Clarinet Quintet, Grand duo concertant, Variations) Editor Roy Emerson (Clarinet Quintet, Grand duo concertant, Variations) Mastering Rachel Smith A & R administrator Mary McCarthy Recording venues Birmingham Town Hall: 2 and 3 January 1982 (Concertino, Clarinet Concertos); Church of St Barnabas, Finchley, London: June 1984 (Clarinet Quintet, Grand duo concertant, Variations) Front cover Photograph © Veer Inc. Back cover Photograph of Janet Hilton by Chris Christodoulou Design and typesetting Cassidy Rayne Creative Booklet editor Finn S. Gundersen p 1982 and 1985 Chandos Records Ltd This compilation p 2007 Chandos Records Ltd Digital remastering p 2007 Chandos Records Ltd © 2007 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Printed in the EU Neeme Järvi

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CCHANHAN 241-36241-36 Booklet.inddBooklet.indd 118-198-19 221/12/061/12/06 12:00:0812:00:08 7 2 WEBER: COMPLETE WORKS FOR CLARINET – Janet Hilton CHAN 241-36 : 9 5 : 1 1

6 0 6 / 2 1 / † 1 2 221/12/06 11:59:27 * cello 6 ‡ 3 4 2 piano violin clarinet * 5 leader leader viola violin 1 1 5 CHAN 241-36 CHAN 9 24-bit/96 kHz digitally remastered 24-bit/96 kHz digitally 0 Printed in the EU Domain Public 7038 LC DDD 116:27 TT Lindsay String Quartet Peter Cropper Ronald Birks Roger Bigley Bernard Gregor-Smith City of Birmingham Symphony Orchestra Neeme Järvi Janet Hilton Keith Swallow Barrie Moore 2-disc set 2-disc 9:04 21:01 15:22 20:29 28:21 22:08 (1786-1826) 2007 Chandos Records Ltd 2007 Chandos Records p DIGITAL DIGITAL England • Essex • Colchester • CHANDOS CHANDOS 2007 Chandos Records Ltd © 2007 Chandos Records Ltd Ltd Ltd © 2007 Chandos Records 2007 Chandos Records

p ‡ ‡ † * * * 1982 and 1985 Chandos Records Ltd This compilation 1982 and 1985 Chandos Records p Digital remastering Chandos Records Ltd Chandos Records 1

at major, Clarinet Quintet in B fl Grand at duomajor, concertant in E fl Clarinet Concerto No. 1 in F minor, Clarinet at major, Concerto No. 2 in E fl d 4 7 4 7 d n

i - - - - . Variations on a Theme from ‘Silvana’,

minor, C in Concertino y 8 1 5 1 2 5 a l 51:42 TT COMPACT DISC TWO COMPACT DISC ONE Weber von Maria Carl Op. 182) 34 (J Op. 48 204) (J Op. 73 114) (J 118) (J Op. 74 64:45 TT Op. 128) 33 (J Op. 109) 26 (J Complete for Clarinet Works n I

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N A H CCHAN 241-36 Inlay.indd 1 WEBER: COMPLETE WORKS FOR CLARINET – Janet Hilton CHAN 241-36