Alex Klein, the principal oboist of the Chicago Symphony Orchestra, positively sparkles in this collection of delightful memorabilia from the classical era. So flawlessly virtuosic is Klein’s playing both in the concertos by Krommer and in Hummel’s jaunty variation set that it makes you wonder how on earth anyone from these composers’ time could execute these knuckle-busting works. True, Klein adds (unauthorized!) cadenzas to the Hummel and the first Krommer concerto, tossing in a high G and a low A (unplayable by any oboist at the time), but even the written passages, especially the Hummel variations, are difficult enough to challenge the finest of today’s professionals.
Aside from the impressive scales and leaping intervals that make these pieces so much fun, Krommer knew how to write a good slow movement, and in each of these concertos are exemplars of aria-like settings that are reminiscent of Mozart’s operas. Klein possesses an uncanny ability to capture the musical arc of these movements with some of the finest heart-felt pianissimo playing (no doubt, helped by his considerable orchestral experience) you are bound to hear. Just listen to the interplay with the woodwinds and the oboe in the second movement of the first concerto and you will be sold, not only on Klein but on Krommer as well. The real showstopper on this disc, though, is the quirky Introduction, Theme, and Variations, which quickly sheds its sinister minor opening for a major-mode carnival for oboe that closes with a dazzling triple-tonguing exhibition in the last variation.
Paul Freeman conducts the Czech National Symphony with sympathetic accompaniment in Cedille’s customary fine sound. The field is not exactly crowded with competitors (Sarah Francis’ fine reading on Hyperion comes to mind), so this entry from Cedille is heartily recommended to lovers of the oboe.
