Album insights
Born in Dublin in 1852 to a lawyer father who had a passion for music, Charles Villiers Stanford showed his composing skills at a young age with his first notable works emerging when he was only eight. After studying in Cambridge, he became an organist at Trinity College and progressed to conducting the university's Music Society. Stanford fostered a close relationship with Brahms, incorporating his Irish heritage into much of his music. His concerto for clarinet, dedicated to and later performed by Richard Mühlfeld, showcased Stanford's accomplished orchestration skill. The concert's three distinct movements reveal the composer's masterful orchestration, with the playful and vibrant finale standing out.
In contrast, Gerald Finzi, born in London in 1901, experienced a challenging childhood marked by the early loss of close family members. Despite holding a position as a composition professor for a short period, Finzi's career primarily revolved around freelance composing and apple-growing. His post-World War II years saw prolific composing, notably with works like "Dies Natalis" and the "Ode to St. Cecilia's Day," showcasing his unique style. Thurston's involvement in refining the clarinet concerto reflects in the piece's emotional depth and technical precision, evident in its debut at the Three Choirs Festival in 1949.
Finzi's concerto's movements unfold with orchestral tumult leading to a tranquil clarinet response, segueing into a tasteful reflection of Finzi's vocal works. Vaughan Williams' input on introducing a cadenza enhances the clarinet's storytelling capacity within the piece. The second movement captivates with expressive violin dialogues underscored by clarinet cadences, building to a climax and receding into a serene conclusion. The lively finale evokes English folk themes, featuring rhythmic shifts and a return to the concerto's initial motives, culminating in a dazzling finish led by the clarinetist.