Scandinavian Bernhard Crusell (1775-1838) not only was one of the great clarinetists of the 19th century, but he also contributed significantly to the evolution of the instrument and composed some of its finest music. The solo writing in the Op. 1 concerto clearly reflects Crusell’s admiration of Mozart, but traces of Carlo Maria von Weber, the era’s other great clarinetist, can be detected as well. In the Op. 11 concerto Steven Hartman offers his rendition in pleasingly rich tones, but he’s up against stiff competition form Kari Kriikku on Ondine. Kriikku’s swifter tempos and fanciful phrasing make his performance (and that of Op. 1) a more enlivening experience. Hartman’s more serious, late-Mozartean approach works especially well in the aria-like slow movement.
The Sinfonia Concertante emulates Mozart’s masterful works in this genre in its grand stance, ebullient spirit, and bravura solo writing, all of which is masterfully negotiated by Hartman, bassoonist Marc Goldberg, and French horn player Peter Reit. Listen to how Crusell ingeniously interweaves the melodic lines of the three instruments in a manner not unlike one of Mozart’s breathtaking operatic trios. All the fine solo work receives solid support from Dorrit Matson and the excellent New York Scandia Symphony. Centaur’s recording is bright and clear, and will be preferred by some listeners to the rolled-off high frequencies of the Ondine disc (which replaces the Sinfonia Concertante with Crusell’s Op. 5 Concerto).
