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Weber. The Clarinet as Prima Donna

Weber. The Clarinet as Prima Donna

Roeland Hendrikx

Cat No:

EPRC 0053

Release date:

5/5/23

Barcode:

0608917724028

On his latest release for Evil Penguin Classic, clarinet virtuoso Roeland Hendrikx teams up with the Rheinische Philharmonie to restore Carl Maria von Weber (1786-1826) to his rightful place in the heart of modern music enthusiasts. As a leg-up to the festivities for Weber’s bicentennial in 2026, they revisit Weber’s Clarinet Concertos and two iconic opera arias on a recording that will be released on May 5 2023 under the title Carl Maria von Weber. The clarinet as prima donna.

Music history has not been kind to Weber, who is essentialized nowadays as the “first German Romantic”. But to fellow composers like Berlioz, Debussy, and especially Wagner, Weber was not only the first, but also the greatest genius of the early Romantic period, whose music was on a par with that of Schubert, if not Beethoven.

In order to transfer Weber’s 19th century fame to the 21st century, this record capitalizes on two crucial insights, viz. that Carl Maria was an operatic spirit in both his operas and his concertante works, and that his preferred lyrical tool was the clarinet.

But playing the Clarinet Concertos is no piece of cake in the absence of a conclusive Urtext: since Weber intended his soloist – “rock star” Heinrich Baermann – to be his co-composer, performers oscillate between a bare but authentic Weber, or an opulent but not altogether “Weber” Weber.

Roeland Hendrikx dodged the dilemma by inviting award-winning arranger Andreas Tarkmann to write a new cadenza for the Clarinet Concerto nr. 1, and to recompose the aria Leise, leise from Der Freischütz for clarinet and orchestra: the resounding result bears testimony to the veracity of the recording’s title: the clarinet really was Weber’s prima donna.

Belgium-born Roeland Hendrikx has enjoyed a fruitful career as a soloist and chamber musician. He rose to international prominence in 2018 when he recorded the Mozart, Finzi and Bruch concertos with the venerable London Philharmonic Orchestra, an accomplishment that “ha[d] it all”, according to Diapason: “accuracy, lyricism, elegance”.

For this record with quintessentially German music, Hendrikx engaged the help of the Rheinische Philharmonie, one of Germany’s oldest orchestras, and ideally suited for the purpose of this project as it is responsible both for symphonic concert programmes and for the opera productions of the Theater Koblenz.

The Rheinische operated under the baton of maestro Michel Tilkin, who made his name by conducting German orchestras like the Nürnberger Symphoniker, the Philharmonie Südwestfalen, and Thüringen Philharmonie Gotha.

Tracklist

1-3. Clarinet Concerto No. 1, Op. 73
4. Der Freischütz: Aria of Agathe "Leise, leise, fromme Weise” (Arr. by Andreas Tarkmann)
5-7. Clarinet Concerto No. 2, Op. 74
8. Variations on a Theme from the Opera Silvana, Op. 33 (Arr. by Rainer Schottstädt)

Carl Maria von Weber (1786-1826)
Reviews

Klassik Heute

"Hendrix's fine, cleverly coordinated agogic: you will repeatedly encounter small ritardandi, brief moments of hesitation or loss of momentum, but this never turns into pathos. These are interpretations that avoid extremes, incidentally also in the choice of tempi."

FANFARE

"Hendrikx is particularly successful in the two finales, played with great ease, freedom, and amazing chops."

American Record Guide

"As expected, this is expertly played. Hendrikx offers a silky tone, hushed pianissimos, gorgeous phrasing, and fluid technique; and when the music turns into an aria, he sings through his clarinet with heartfelt conviction. The orchestra is also splendid, rendering each score with heft, polish, and sparkling clarity, especially in Weber’s terrific woodwind writing that buoys the clarinet line. At the same time, Hendrikx is cautious with his loud dynamics, never venturing beyond a forte, even in the heated passages; and the orchestra naturally defers to him, lessening support in the solo lines and reserving all power for the tutti sections. The upshot is an album with several breathtaking moments that will make the audience weep but only a few that bring the fire that the composer requires."

Kultura Extra

NICHT ZU TOPPEN - "Jetzt liegt eine CD des Labels Evil Penguin vor, auf der der belgische Klarinettist Roeland Hendrikx (54) im vorigen Jahr Webers zwei Klarinettenkonzerte sowie zwei verschiedene Opernbearbeitungen (die Agathe-Arie "Leise, leise, fromme Weise" aus dem Freischütz sowie Variationen zu einem Thema aus Silvana) mit dem Staatsorchester Rheinische Philharmonie (Dirigent: Michael Tilkin) in der Rhein-Mosel-Halle Koblenz einspielte - und bereits "rein technisch", also was das stereofone Hörfeeling angeht, klingen die insgesamt acht Tracks mit einer Laufzeit von etwas über einer Stunde einladend grandios."

Classic Voice

"Roeland Hendrix's interpretation is convincing and finely expressive both in virtuosic and dialogic details and in his phrasing with the orchestra. For its part, the Staatsorkester Rheinische Philharmonie proves compact and polished in tune with the spirit of the score, following empathetically the precise and sensitive baton of Michel Tinkin."

Scherzo

"Roeland Hendrikx tiene campo suficiente para demostrar su maestría en el clarinete. Además de por su sonido redondo, terso, lleno de matices y colores, destaca en esta grabación la delicadeza de su articulación y de su fraseo. Sólo la manera de abordar la primera frase del primer concierto, como un cálido susurro, nos habla ya de su capacidad de matizar y de hacer cantar a su instrumento. Junto a una brillante dirección de una sólida orquesta, tenemos una grabación de sumo interés."

ORF/Ö1

"Sie ist eine tiefgründige Auseinandersetzung hinsichtlich Autorscha und Interpretation."

Ihr Opernratgeber

"Großartig erneut diese berührend Eleganz in den Pianopassagen mit welchen die Interpretation der Agathen Arie Leise, leise, fromme Weise einfach nur begeistert."

Luister

"Hendrikx weet er wel raad mee. Net zoals hij hoorbaar geniet van de halsbrekend rappe capriolen tegen het eind van de finale van het Tweede klarinetconcert. [...] De Rheinische Philharmonie onder de Belg Michel Tilkin speelt uitstekend en het geheel is mooi vastgelegd."

BBC Music Magazine

"Hendrikx plays brilliantly throughout, rattling off the dizzying final pages of the Second Concerto at breakneck speed."

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