The recital opened with a delightful performance of Alexander Grechaninov’s Sonata No. 1 for Clarinet and Piano, Op. 161 by Dmitry Perevertailenko (clarinet) and Seong Eun (Grace) Kim (piano). The work was enjoyable, oscillating between a jolly and playful nature to a more melancholy yet still comedic one. Especially beautiful was the second movement, Canzona. The third movement contained many false endings that left the audience wondering how it would close.
Next up was Buffet Crampon and Vandoren Artist Alcides Rodriguez of the Atlanta Symphony. He was joined by Gail Novak at the piano performing the Widor Introduction and Rondo, which was not listed on the program. Alcides’ command of the technique was evident, as was his beautiful tone, especially at piano dynamics. His performance was extremely well received by all.
Next Alcides was joined by Heather Rodriguez (Rodriguez Musical Services) for Ponchielli’s Il Covegno. Their tones blended exceptionally well and they made this tricky work seem effortless. Bravo.
The recital closed with a work by Thomas Drury, Sonatina for Clarinet and Piano. Thomas Josenhans, clarinet (Chair-University of Evansville), was joined by the composer at the piano. The first movement, “Driving but buoyant” was in ternary form and had a wonderful imitative quality. The second movement, “Quite slow but with a lilt” started with a beautiful (possibly Irish) folk song that then transformed into an anxious and dissonant section. Another three-part form, the melody returned to be performed by the piano and ending positively. The third movement was a jig that had running triplets before becoming fragmented and imitative once more. The piece was performed with enthusiasm and would work well on recitals for students and professionals alike.
–Notes by Dr. Dawn Marie Lindblade
Dr. Lindblade is the Assistant Professor of Clarinet at the University of Central Oklahoma and is a Clinician at Clarinet Pro Workshops, Austin Texas.