Stucky / Ustvolskaya / Salonen / Brahms David Howard & Vicki Ray

• 1 Meditation and Dance 05:46
• 2 I. Espressivo 06:16
• 3 II. Dolce 03:06
• 4 III. Energico 05:14
• 5 I. Sehr innig 01:32
• 6 II. Zart 02:12
• 7 III. Frei 02:11
• 8 IV. Ruhig 01:57
• 9 I. Allegro 13:05
• 10 II. Adagio - Piu lento 11:40
• 11 III. Andantino - Presto non assai, ma con sentimento 04:44
• 12 IV. Con moto 09:05
• Total Runtime 01:06:48

Info for Stucky / Ustvolskaya / Salonen / Brahms

I’ve reviewed a fair number of recordings with the clarinet as the headline instrument, but I can only remember one or two that are as satisfying in as many respects as this one, and none more so. Los Angeles Philharmonic veteran clarinetist David Howard has hit every conceivable sweet spot; his playing displays multiple interpretive and technical attributes, his colleagues are equally top-drawer, his program is fascinating and varied, and the recorded sound is the finest I have encountered for a solo clarinet.

He begins with Meditation and Dance by Steven Stucky, a composer who has enjoyed a long working relationship with the Philharmonic. It’s a vibrant curtain-raiser, and a good choice to precede Galina Ustvolskaya’s stubborn, uncompromising, and ultimately magnificent trio. Ustvolskaya may be the most underrated composer of the 20th century, ironic considering that her mentor may the most overrated. Since this is the first time I’ve written of her music for Fanfare , I perused the Archive and found some perceptive observations as well as admiration ranging from grudging to enthusiastic. Like all of her music, the Russian recluse does nothing here to hide her intentions or smooth over rough spots. Her counterpoint is blunt and pointed, her textures are always clear if etched with a sledgehammer. You may not like this music, but you are not likely to be indifferent or confused. Howard, violinist Johnny Lee, and pianist Vicky Ray give a precise, bold, yet level-headed reading in a live setting.

Another composer with close ties to the orchestra is Esa-Pekka Salonen, and his early Nachtlieder are a bracing, astringent set of four short pieces that call to mind early Berg minus the most extremes of the later hyper-expressionist fervor. Of special note is Howard’s remarkable control of quiet dynamics, a talent he uses to shape phrases that might otherwise slip past the listener’s attention.

The Brahms Clarinet Quintet might not seem like a suitable match with the earlier works, but Howard seems gratefully keen on avoiding the ghettoization of new music. I’ve heard many splendid versions of the quintet live and in recording, and this one easily stands with the best of them. The Shifrin/Emerson on DG is one of the best for sheer drama and precision, and the Meyers/Berg takes the prize for idiomatic warmth. This is clearly in the same league for its assured and robust performance, and audiophiles will appreciate its tonal accuracy and natural soundstage. The sound is warm and silky without compromising detail. Pick your justification—this is a must-have disc.“ (Michael Cameron, FanFare)

David Howard, clarinet
Vicki Ray, piano

Lyndon Johnston Taylor, violin (on Clarinet Quintet in B minor, Op. 115)
Kristine Hedwall, violin (on Clarinet Quintet in B minor, Op. 115)
John Hayhurst, viola (on Clarinet Quintet in B minor, Op. 115)
Gloria Lum, cello (on Clarinet Quintet in B minor, Op. 115)
Johnny Lee, violin (on Clarinet Trio)

David Howard
has been a member of the Los Angeles Philharmonic since 1981, when, at age 25, he was hired by then Music Director Carlo Maria Giulini. Over the last few seasons he has performed and given master classes at international festivals in Tel Aviv, Vancouver, Helsinki, Beijing, and Stockholm. Last November he and a small contingent of Philharmonic colleagues coached and gave master classes in Caracas under the auspices of El Sistema.

With the Los Angeles Philharmonic New Music Group, Howard performed as soloist in John Harbison’s Concerto for Oboe, Clarinet, and Strings under the direction of the composer; he was also the bass clarinet soloist in Iannis Xenakis’ Échange, conducted by Esa-Pekka Salonen. Previously, Howard was principal clarinetist with the New Jersey Symphony and the New Haven Symphony.

A Los Angeles native, he received a B.A. in Russian Literature from Yale University. In collaboration with former Philharmonic pianist Zita Carno, Howard recorded a compact disc for the Centaur label entitled Capriccio: Mid-century Music for Clarinet, which includes works by Leonard Bernstein, Paul Hindemith, and Witold Lutoslawski. He recently released a compact disc on the Yarlung label, which includes works by Esa-Pekka Salonen, Steven Stucky, Galina Ustvolskaya, and Brahms; just last month this Yarlung disc was released as a high-resolution download by Linn Records. Since 1986, he has served on the faculty of the Thornton School of Music at the University of Southern California. Howard is currently serving as acting Associate Principal Clarinet of the Los Angeles Philharmonic.

Vicki Ray
performs internationally as a soloist and collaborative artist. She is a member of the award-winning California E.A.R. Unit and Xtet. As a founding member of Piano Spheres, her playing has been hailed by the Los Angeles Times for “displaying that kind of musical thoroughness and technical panache that puts a composer’s thoughts directly before the listener.” A long-time champion of new music, Ray has worked with György Ligeti, John Adams, Pierre Boulez, Elliott Carter, Morton Subotnick, Esa-Pekka Salonen, Stephen Hartke, Oliver Knussen, and many others. Ray has been featured on the Los Angeles Philharmonic Green Umbrella Series, with the Los Angeles Chamber Orchestra, the German ensemble Compania, and the Blue Rider Ensemble of Toronto, with whom she made the first Canadian recording of Pierrot Lunaire.

As a pianist who excels in a wide range of styles, Ray has made numerous recordings covering everything from the premiere release of Steve Reich’s riveting You Are Variations to the semi-improvised structures of Wadada Leo Smith, from the elegant serialism of Mel Powell to the austere beauty of Morton Feldman’s Crippled Symmetries.

During the past two summers, Ray has served as the pianist for the Bang on a Can Summer Festival at Mass MOCA. She also appears with the Partch ensemble playing harmonic canon and kithara — a mind and ear altering experience she enjoys immensely.

Vicki Ray has been a member of the piano faculty at the California Institute of the Arts since 1991.

Booklet for Stucky / Ustvolskaya / Salonen / Brahms