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The Clarinet World REVIEWS AUDIO NOTES by Kip Franklin Milton Babbit’s Composition for Four undauntedly masters the rapidly cascading Instruments begins with an extended arpeggios in the scherzando section and Stanley Drucker is unquestionably a titan clarinet passage that Drucker performs conveys control and color in the more of the clarinet world. In addition to his six in an improvisational off-the-cuff lyrical passages. This orchestration is decades with the New York Philharmonic manner. The work features a variety of a refreshing departure from the more (nearly five of them as principal clarinet), instrumental timbres and techniques, traditional clarinet and piano version. his career entails many commissions and resulting in a unique tapestry that Like Nature Moods and Contrasts, recordings. A new double-disc set, Stanley resembles the pointillistic writings of Weigl’s New England Suite showcases Drucker: Heritage Collection 6-7, Webern and Boulez. Valley Weigl’s Nature Drucker’s aptitude as a chamber musician. contains recordings of Drucker playing Moods ensues, with Drucker showcasing Her writing allows each instrument solo many of the most colossal works in the his ability to emulate the human voice. passages while still creating interwoven repertoire, as well as many important and Each of the five movements in this work and complex ensemble textures. Drucker’s rarely-played or obscure smaller works conveys a bucolic ambience with perfectly mellow, deep tone makes this an spanning the entirety of his career. That interwoven counterpoint between the especially memorable piece; at times it Drucker is on display as both a soloist clarinet, voice and violin. The balance in is contemplative and ponderous, and at and chamber musician throughout this this particular work is exceptional, with others jubilant and capricious. As with Nature Moods, the intonation of perfect collection is perhaps its most appealing a clear distinction between melodic and intervals is spot on. Weigl’s work would element. In addition to standard concerti accompanimental material and impeccable pair nicely with any of the better-known and concours works, the discs feature intonation of open intervals. trios for clarinet, cello and piano by Drucker in duo and trio combinations Mario Davidovsky’s Synchronism No. Beethoven or Brahms. with voice, cello and violin. 2 calls for clarinet, flute, cello, violin The following three works, Spohr’s The first disc opens with a 1967 and electronic tape. Drucker and his Sechs Deutsche Lieder, Gordon Jacob’s Three recording of Carl Nielsen’s monumental colleagues expertly achieve control of Songs and Arthur Bliss’s Nursery Rhythms, Concerto, Op. 57, with the New York extreme dynamics and various timbral Philharmonic conducted by Leonard combinations resulting in an interesting Bernstein. Drucker’s interpretation is and ever-evolving tapestry of colors, faultless and unblemished. He plays with textures and soundscapes. divine technical precision and bittersweet Honegger’s Sonatine for Clarinet lyricism throughout the course of the and Piano is equal parts meditative, work, which according to the liner notes sentimental and jazzy. Especially notable is was recorded in essentially one take! the contrapuntal playing between Drucker Drucker’s expression of character and and pianist Leonid Hambro in the first nuance is so refined, elegant and poised movement. Drucker’s phrasing in the that one can easily forget that this work second movement is remarkably poignant is one of the most demanding concerti in and his incisive articulation in the third the repertoire. This recording is likely to movement is impressive. become the standard to which all others Volume 6 concludes with Béla Bartók’s are compared. Contrasts recorded in 1954 – Drucker’s first professional recording. Here Drucker again conveys his utmost command of style. Pointed rhythmic gestures in the first movement, evenly controlled tone in the second movement and whirly 16th-note passages in the finale combine in a total tour-de-force for all players. Volume 7 begins with Debussy’s Première Rhapsodie, Drucker’s first solo collaboration with the New York Philharmonic and Leonard Bernstein. The synchronization between Drucker and the orchestra is exquisite; one has the sense that he is somehow playing and conducting simultaneously. Drucker MARCH 2020 THE CLARINET | 13 REVIEWS represent a collaboration between Drucker what one would think is possible on the of each piece, as well as notes from John and soprano Judith Blegen for a recital in instrument. From the liquid-like runs in Corigliano, Michael Skinner, François 1980. Each of these works demonstrate the opening of “Cadenzas” to the acrobatic Kloc and others. Listeners will thoroughly Drucker’s ability to emulate the human and nimble “Antiphonal Toccata,” enjoy every aspect of these albums, and voice. All are enjoyable and explore a full Drucker’s agile command of all facets of their value and quality is immeasurable gamut of characters, tonalities and moods. his playing is captivating and dramatic. and cannot be overstated. Obviously any The Spohr is certainly a standout of the set The recording itself is of an extraordinary album bearing Drucker’s name is going owing to its harmonic depth and formal quality; Drucker’s sound is never covered to be a masterpiece, but because of the richness. Drucker and Blegen successfully or obscured by the mammoth forces breadth of repertoire on these albums and merge the qualities of Schubert’s lieder supporting and surrounding him. their accompanying historical anecdotes, and Brahms’s chamber music into a single, These albums are vital necessities for this collection in particular is an absolute unified interpretation. Also notable is must-have for all players! Drucker’s charming and witty playing in clarinetists of any level. Careful work has Happy listening! v the final movement of Bliss’s composition, gone into mastering each track to be clear allowing him to depart from the seriousness and devoid of any distortion inherent to inherent to late Romantic style and paint a some older recordings. Drucker’s playing more humorous, cartoonish caricature. is utter perfection, and the supporting The final work on the album is a musicians and ensembles on the album Don’t miss an issue 1980 recording of John Corigliano’s are equally skilled. Obviously the large Concerto, written specifically for Drucker canonical works are reason enough to own of The Clarinet! and the New York Philharmonic. this album, but perhaps more valuable are Drucker’s playing in this work is wholly the expert performances of the lesser- Renew your transcendent and his ownership of his known chamber works with voice and craft is on full display. His playing is strings. The collection contains liner notes membership online at convicted, unblemished and committed, with interesting and informative anecdotes www.clarinet.org always going far beyond the limit of from Drucker regarding the recording 14 | THE CLARINET MARCH 2020.
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