莫扎特 - A大调单簧管协奏曲 - 第一乐章
Work Title Clarinet Concerto in A major, K. 622
Composed By Wolfgang Amadeus Mozart
Recording Location Henry Wood Hall, London, England
Recording Date 2003-11-19
Antony Michaelson (clarinet)
Michaelangelo Chamber Orchestra
Robert Bailey (conductor)
Two months before his death in October 1791, Mozart completed the Clarinet Concerto, his last concerto and final major work. In the final period of his life, Mozart suffered poor health, domestic problems and financial difficulties. Despite these intrusive problems, or perhaps because of them, the concerto has a remarkable, other worldly serenity and beauty. This concerto is easily the greatest clarinet concerto and, for that matter, the greatest concerto ever written for any wind instrument.
A Mosaic of Music: Stereophile's Clarinet Quintet CD Page 4
A Conversation with Antony Michaelson
I first met Antony Michaelson in the summer of 1978, when he and a friend were manufacturing tube amplifiers under the Michaelson & Austin name. We stayed in touch as M&A folded, as Antony spent a brief period working in the US, and as he founded British audio manufacturer Musical Fidelity. Throughout the years, Antony wore his passion for the clarinet on his sleeve, and, having played chamber music with him several times, it had always been at the back of my mind that someday I would record him playing some of the music we both loved. I spoke with him many months after the Kansas sessions and asked him what it was about the clarinet that had first attracted him.
Antony Michaelson: It was just that I loved the sound. I loved the way the thing looked and I loved the sound it made.
John Atkinson: You started playing the instrument relatively late in life.
Michaelson: Very late. I was 14, but I took to it instantly. However, being a good Jewish boy, when I was 18 I ignored whatever level of talent I had and went into accountancy. This made me utterly ill, and eventually I was sacked. Then I got a business degree, which was a complete waste of time. Then I had six jobs in one and a half years of employment, because I just couldn't settle. But finally I went to music college, where I studied with Keith Puddy and John McCaw.
Atkinson: You're currently studying with Dame Thea King, who has recorded all the major clarinet works for Hyperion Records.
Michaelson: Yes. When I was doing the Mozart Clarinet Concerto record [recorded by Tony Faulkner in DSD and released in 1998 on CD on Antony's Musical Fidelity label, MF018], I heard Thea doing a broadcast of a master class and I really liked her approach. I phoned her up but she was a bit leery; you know, who the hell was I? Nevertheless, she invited me to play for her. She ripped me apart, of course, really ripped me apart, but she did take me on. It was an epiphany. I can't tell you the change it made in my playing. It was huge.
Atkinson: All the years I've known you, you've always been searching for a better clarinet. What instrument did you play at the sessions for Mosaic?
Michaelson: It was a Rossi clarinet. I used to play a type of clarinet called a "pre-war 1010," which is a very English thing. The "1010" refers to the bore of the instrument, and they're not made anymore. Well, there is one chap making them, but they're just not the same as the pre-war instruments. I had some very careful measurements made, and there was a fundamental difference between the newer English-bore clarinets and my pre-war 1010 in terms of the wall thickness. Then I heard of this chap in Chile, Luis Rossi, who makes an English-bore clarinet. I had a long conversation with him. The guy's a genius—apart from making amazing clarinets, he's an amazing clarinetist. I got Rossi to make me a pair of clarinets to my spec, and they were better than my pre-war 1010. And that's what I used on my concerto record.
Mozart Clarinet Concerto K622 in A Major
3. Rondo Allegro
Heinrich Josef Bärmann - Clarinet Quintet Op. 23
Carl Maria Von Weber - Clarinet Quintet Op. 34
Johannes Brahms - Clarinet Quintet Op. 115