Winsome young British clarinetist Sarah Williamson offers a fresh British-American program here, with Aaron Copland's Clarinet Concerto, commissioned in 1947 by Benny Goodman, and Gerald Finzi's Clarinet Concerto, composed just two years later. Copland wasn't inspired by British pastoralism, but the connection makes sense: the use of musical space to define imagined landscapes has its roots in French impressionism and branches that can be traced to Britain and America. Nor does the jazz flavor of Copland's concerto ...
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Winsome young British clarinetist Sarah Williamson offers a fresh British-American program here, with Aaron Copland's Clarinet Concerto, commissioned in 1947 by Benny Goodman, and Gerald Finzi's Clarinet Concerto, composed just two years later. Copland wasn't inspired by British pastoralism, but the connection makes sense: the use of musical space to define imagined landscapes has its roots in French impressionism and branches that can be traced to Britain and America. Nor does the jazz flavor of Copland's concerto invalidate the comparison; what gives the work its peculiar charm is its combination of Copland's simpler and immediately accessible style of the 1930s and early '40s with jazz, as if the composer was casting a nostalgic eye back to his early flirtation with jazz. The first movement especially has a lovely melancholy tint that's unique in Copland's music. Williamson delivers a perfectly confident, rather low-key reading of this movement that catches its emotional tenor, and the tuneful...
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