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02215 Record

A DIVISION OF

WESTMINSTER RECORDING CO., INC,

Concerto for Clarinet

in A Major, K. 622

Concerto for Flute and Harp

in C Major, K. 299

1. Allegro 1032

2. Andantino 9:41

3. Rondo allegro 9:40

1. Allegro 12314 |

2, Adagio 7:05

3. Rondo 8:45 | :

—> $6.77 q:| 5 ha JEAN-PIERRE RAMPAL, riute e LILY LASKINE, harp - JACQUES LANCELOT, clarinet

Jean-Francois Paillard Chamber Orchestra

JEAN-FRANCOIS PAILLARD, conductor

THE MUSIC —Wolfgang Amadeus Mozart was only four when he con- Andantino, two new motives (one in the strings and the other in the THE ARTISTS —Jean-Frangois Paillard, who has directed several in-

ceived his first concerto, written down with a liberal number of ink solo instruments) are contrasted with the two essential phrases. strumental and choral ensembles, has performed a wealth of unknown 5

specks and blots which he wiped off with his hand. Later came tran- : ten’ music, discovered in his search for unpublished scores through the E oak cag The Rondo finale, with a gavotte refrain, is one of the smallest 2 : ‘ >;

scriptions of compositions by J. C. Bach, Schubert and others. They were seas oi aiseaee Co wo laed Gas By Mceee he ncheg a: alone has libraries of Europe. The conductor has also extended the repertoire of i

works which would have posed problems for a conservatory student, but SS areiee ‘ ry ae ey the chamber orchestra by bringing to light many neglected chamber- : 2 three distinct ideas. The thematic section which follows adds four more; ; ‘ ; 5 r

Mozart was doing them when he was about ten. : a i music works of all countries and periods. the entry of the soloists adds no fewer than five additional new ideas,

; and in the cadenza section at least two supplementary ideas are intro- , ' 3 ‘ The composer’s first work in the concerto form was the ‘Concertone’ duced: 7s civexous 6 cet BE a . fealis a a a, Seer Jean-Pierre Rampal’s fame as one of the greatest flute virtuosos of the

for Two Violins, K. 190, composed in 1773, and by 1791 Mozart had ae It is another example that Mozart’s primary element of musical 20:h cennity hat Speen e ouse eee eg oe in all the 5

composed about fifty concertos for various instruments, not counting ; ds nis as acer anne aun ance of melodie Uenen te a European countries, the Far East, North Africa, North America and ;

numerous fragments and rough sketches. ha 10 f an 4 neta Be tie tet ea ih gh ge Central America. Mr. Rampal is a member of the Chamber Orchestra 4

hare he a ¢ as fa ‘ 4 A 4 Be; nae f of the Wind Instrument Society of Paris and of the French Wind Quin- ; even a development, Mozart preferred a new melody to a variation o: : : , E

sone : . tet, and many of his recordings have won the French Grand Prix du meee ue ee atid encountered rey, desspeeinanents but he material already presented. In the finale of the concerto the usual rondo Disque as . ‘ 3

heard a great eal of music, including his own P aris’ Symphony at a form eventually disappears behind. a parade of melodic ideas. Concert Spirituel. Encouraged by the success of this work, he composed > . F : q tive Cgnkactein) Foes SRSA are aw. © : a, b ’ fy ; : Lily Laskine, the first woman ever admitted to the Paris Opera orches- i e€ ce t AC € today Know in a version tor oboe, Mozart discovered the clarinet on his travels in 1778, when Anton ttaris-one of the most celebtated hatpiets of oar aaa ea) eae 3

clarinet, horn and bassoon, but it was not played. However, impressed Stadler revealed to him the agility and beauty of this instrument. To f th Ormh BERS L P he Orch = Philh e ¢ ee eae hoarse Die ae eines Geile “eusied ab gear: : : of the Orchestre des Concerts Lamoureux, the Orchestre Philharmonique ¢ y > e Guines (who “played the flute this virtuoso of the basset horn and the clarinet Mozart dedicated the : «yee P r

: ie : : : : and the Orchestre National de la Radiodiffusion, and as guest artist, she c incomparably well”) and his daughter, the little Duchess (who was Serenade, K. 361 and the Clarinet Quintet. For Stadler he also began has appeared under such saoeedwenaduetore as Tamale ee ae ;

“magnificent on the harp’), Mozart, although not particularly smitten a concerto in G for basset horn —which was finished in Vienna in Octo- K ee Agncho Babee and Rese : : : by either instrument, composed a double concerto (herein recorded), ber 1791 as the Clarinet Concerto in A Major, K. 622. vs , y pient. 5

which he knew would be played. : Snee é 2 Mozart makes the work intricate in the initial Allegro. The double ‘ A native of Rouen, Jocques Lancelot ee a busy wee: bis r

; ‘ : pred for breaking the theme into multiple phrases includes concerts with the French Wind Quintet and the Fernan g The Concerto in C Major for Flute and Harp, K. 299 is one of the most reece : : ; shane

typical examples of Macarts ingenuity ee ae Realizing that whose sudden appearances are somewhat disconcerting. Equally un- Oubradous Chamber Orchestra. The artist has also been solo clarinetist ~

the duple exposition of the themes—first in the cgnhiceten shea by the expected is that curiously nostalgic phrase in A minor in which the of the celebrated Musique de la Garde Republicaine and of the Orchestre }

2 i : i : clarinet, contrary to usual procedure, introduces the second theme of des Concerts Lamoureux. soloists — might be monotonous, he introduces new melodies each time " c f i df nC _

he can. Moreover, each of the principal themes is composed of a succes- an A major movement in sonata ‘form. A second tragment in \ major é sion of ideas which can be used singly while maintaining their function breaks in almost immediately, but this tonality is no less heretical than aebonbet BRRRNIS ORE

of a ritornello-refrain. Thus, in the first- Allegro Mozart makes use of, the preceding. : MASTERING: CLAUDE RIE (

five different ritornellos. The soloists do not have to be satisfied to intro- It is this unfettered creative freedom which makes this concerto such COVER ART: DRESDEN/COURTESY D.M. & ANTIQUE IMPORT CORP., N.Y.C. t

duce just the two principal themes when their turn comes; they intro-

duce a third (perhaps the most expressive and most significant of the

whole movement) and even a fourth, used in the single central develop-

ment. Always aware of effects, Mozart did not fail to bring back the

lovely third theme, in a subordinate role, in the recapitulation in the

principal key. In addition, during the development of the tender

TS-9558 Proor 2 7-1-66

a joy to hear. Through its poetic beauty shines so much simple courage

that even the heavenly melody of the Adagio in D major echoes “happi-

ness beyond suffering.” Though this peace is surrounded by foreboding, Mozart's sensitivity for his audience and for himself causes him to veil

the melancholy of the final Rondo with a wistful smile. Joyful sorrow,

more touching than a plaintive outburst, is Mozart in his last concerto.

COVER DESIGN: HARRY FARMLETT

LINER NOTES: ADAPTED FROM THE FRENCH NOTES OF OLIVIER ALAIN

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