![]() “Here’s a lighthearted album that meanders across various classical and world music genres. BBC Music Magazine, July 2012 (in review of 2012 American Classics’ Naxos CD) And let’s welcome the Concertino, the longest piece on this recording, usefully strengthened by three string instruments, a cadenza showcase for Alexander Fiterstein’s liquid clarinet, and culminating in an exciting finale.” Yedidia also writes with ethnic influences, Jewish and Arabic especially, wistfully dancing in and out the music… Treasure the earliest work, Poeme (1995), for a beautiful reflective interlude nine minutes in. ![]() “… he writes with the 19th century just round the corner (Chopin’s at large in the Impromptu). Gramophone Magazine, July 2012 (in review of 2012 American Classics’ Naxos CD) The strings take a break midway to let the clarinet set off on a moody cadenza, which Fiterstein plays to the dramatic hilt.” The clarinet teams with piano and string trio in Concertino, a work of romantic and brooding persuasion. Yedidia pays heartfelt tribute to a late colleague in Farewell, Nathaniel, something of a song without words, and ventures into sweeping and haunting territory in Poeme. Two other pieces are scored for the same instruments. Clarinet and piano share honours here and in the other two affecting pieces in the collection, the Chopin-influenced Impromptu and the pensive Nocturne. The disc’s opening selection, World Dance, is a whirlwind example of Yedidia’s ability to embrace many cultures and set them leaping. Harmonies travel surprisingly from major to minor (and back again), and phrases head on vibrant rhythmic tangents with feet rooted in dance forms. The modal flavours in Yedidia’s music are partly what make it so instantly appealing. The repertory employs clarinet, piano and strings in invigorating and poignant conversations, many influenced by ethnic sources from Israel and elsewhere. “Fiterstein puts his multifaceted artistry to splendid use in this programme of music by Israeli-born composer Ronn Yedidia, also the recording’s articulate and expressive pianist. MusicWeb International, January 2013 (in review of 2012 American Classics’ Naxos CD featuring Ronn Yedidia’s clarinet & piano works) The music is tonal, romantic, well-crafted and tuneful… This disc is clear evidence that the art of writing good tunes is still alive and well.” 7 in A major WoO 1/7, here in its original form for four hands.“Judging from this excellent CD there is no doubt that Yedidia’s compositions for clarinet are melancholic, touching and intimate. Wu at the piano for an easefully unbuttoned account of Brahms’ Hungarian Dance No. ![]() Wright showed his versatility by joining Ms. Then, for the first but not the last time in the recital, Mr. 1 from his set of three for piano, the clarinet transcription carrying a strong whiff of Rhapsody in Blue. Wu had to leave early, so unusually there were a couple of encores in the middle. The first movement is one of the most impressive cases of Prokofiev’s way of seeming effortlessly to bend the time-honored sonata framework into the perfect vehicle for his unique blend of harmonic astringency and piquant, unpredictable melody, though both here and in the succeeding Scherzo, despite the tempo being on the easy-going side for its Presto marking, I found the insistence of high-lying clarinet tone a little hard on the ear, and over the whole work less subtle and reflective than the flute original. Though not a great deal more than an appetizing bonne bouche, it showcased the skills of both players in its pretty much equal distribution of musical interest across an eight-minute span that’s notable for disguising its titular division into two parts much more than some other similarly-named pieces, the wistfully-tinged main rondo theme maintaining a preludial air throughout. had a rare opportunity to glimpse one corner of this hidden massif of music, when Micah Wright and Hui Wu opened a substantial and imaginatively planned program with Widor’s Introduction and Rondo for clarinet and piano, Op. The audience at the April “The Interludes” recital from Classical Crossroads Inc. #Mr corner clarinet plus#This concentration of attention is unfortunate as it has obscured his large output in other forms: for orchestra, for various chamber forces, and keyboard, plus many songs and choral pieces, in toto considerably outnumbering those for his signature instrument. The extremely long-lived Charles-Marie Widor (1844-1937)-organist at Saint-Sulpice in Paris for no fewer than 64 years-was one of the most noted composers for the instrument, with 10 symphonies for organ solo, amongst other works, to his name. ![]()
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