New Era Andreas Ottensamer

• Johann Wenzel Anton Stamitz (1717 - 1757): Concerto for Clarinet and Orchestra in B flat major:
• 1 1. Allegro moderato 07:13
• 2 2. Adagio 05:16
• 3 3. Poco presto 04:19
• Franz Danzi (1763 - 1826): Concertino for Clarinet, Bassoon and Orchestra in B flat major op. 47:
• 4 1. Allegro 06:43
• 5 2. Andante moderato 03:20
• 6 3. Allegretto 06:02
• 7 "Se viver non degg'io" from "Mitridate", K.87, (Arr. for Basset Clarinet & Flute) 04:38
• Franz Danzi: Fantasy for clarinet and orchestra:
• 8 Fantasy on "Lá ci darem la mano" from Mozart's "Don Giovanni", K.527, for Clarinet & Orchestra 10:08
• Wolfgang Amadeus Mozart: (From Don Giovanni):
• 9 "Batti batti o bel Masetto" from "Don Giovanni", K.527 (arr. for Basset Horn & Flute) 03:59
• Carl Stamitz (1745 - 1801): Concerto for Clarinet and Orchestra No. 7 in E flat major:
• 10 1. Allegro molto 08:20
• 11 2. Adagio 06:19
• 12 3. Rondeau 05:37
• Total Runtime 01:11:54

Info for New Era

Ottensamer presents a dazzling selection of the clarinet’s early repertoire from 18th Century Mannheim, with works by J. and C.P. Stamitz, Mozart and Danzi, together with the Kammerakademie Potsdam.

Featuring duets with Albrecht Mayer and Emmanuel Pahud - two of the great wind soloists of our time and Ottensamer’s friends and colleagues at the Berliner Philharmoniker. It promises to be the chamber recording of the year.

The "Mannheim school" was a melting pot of “revolutionary experimentation” - musicians from all over Europe coming together to develop a new explosive and colourful sound – forming the orchestra as we know it today.

The Mannheim Orchestra was also the first to adopt the recently developed clarinet into the orchestra, and here Mozart heard the instrument for the first time.

“It’s fascinating to think that Mannheim inspired so many composers and musicians, and it was the players themselves who made it happen – it gave them the chance to do their own thing. Every aspect of composition, playing, teaching and conducting was concentrated there, and audiences went wild, blown away by the kind of rock-star ensemble that they heard.” Andreas Ottensamer

Ottensamer’s debut album on Decca Classics – the first clarinettist to sign exclusively to the label in its 89 year history.

Andreas Ottensamer, clarinet
Emmanuel Pahud, flute
Kammerakademie Potsdam
Albrecht Mayer, conductor

Andreas Ottensamer
has captured audiences and critics alike with the singular beauty of tone that he coaxes from the instrument. At one stage he studied the cello, which perhaps has helped to imbue his approach to the clarinet with a soulful depth. His Viennese instrument, with a wider bore than the closely related German-system clarinet, produces a particularly dark, expansive and warm tone, which he exploits to full advantage.

Born in 1989, Ottensamer comes from an Austro-Hungarian family of musicians and was drawn to music early, receiving his first piano lessons when he was four. At the age of ten he began studying cello in his home town at the University of Music and Performing Arts Vienna, then changed to the clarinet under Johann Hindler in 2003.

Andreas Ottensamer gained his first orchestral experience as a deputy in the orchestra of the Vienna State Opera and the Vienna Philharmonic and as a member of the Gustav Mahler Jugendorchester. In 2009 he interrupted his Harvard studies to become a scholar of the Orchestra Academy of the Berliner Philharmoniker.

As principal clarinettist he has played with the Deutsches Symphonie-Orchester Berlin from July 2010 to February 2011 and with the Berliner Philharmoniker.

Ottensamer has won first prize in competitions for clarinet, cello and piano, and performs as a soloist and chamber musician throughout the world in venues such as Musikverein Wien, Konzerthaus Wien, Brucknerhaus Linz, Musikverein Graz, Philharmonie Berlin, Tempodrom Berlin, De Doelen Rotterdam, and Seoul Arts Center. His artistic partnerships include work with Murray Perahia, Leif Ove Andsnes, Leonidas Kavakos, Janine Jansen, Clemens Hagen and Yo-Yo Ma. In 2005 Andreas Ottensamer founded the clarinet trio The Clarinotts with his father Ernst and brother Daniel, both solo clarinettists in the orchestra of the Vienna State Opera and the Vienna Philharmonic. Several works have been dedicated to the ensemble.

In February 2013 Andreas Ottensamer entered an exclusive recording partnership with Deutsche Grammophon/Mercury Classics, making him the first ever solo clarinettist to sign an exclusive agreement with the Yellow Label. His first album, Portraits – The Clarinet Album, will be released in the summer and features concertos by Copland, Spohr and Cimarosa, plus arrangements of short pieces. His partners are the Rotterdam Philharmonic Orchestra under Yannick Nézet-Séguin.

He said of the recording: “This album poses the challenge of jumping between different styles and ways of playing, but at the same time I set a high priority on maintaining my personal interpretation and sound.”

For a man who is so dedicated to music, Andreas Ottensamer is also passionate about sport. For many years he was a tennis tournament player, and together with his brother he founded his own football club, the Wiener Virtuosen, in 2007. The team plays successfully in the Wiener DSG league and Ottensamer still travels to Vienna for matches whenever his schedule permits.

In 2013 this schedule includes performances of the Busoni Clarinet Concertino and Copland Clarinet Concerto at the Seoul Arts Center in Korea (March), concerts with the Brahms Ensemble Berlin in Baden-Baden and Japan and appearances with his own Clarinotts at the Musikverein in Vienna (April). In May he undertakes a Japanese tour, playing repertoire from his debut album – including performances as a soloist with the Nagoya Philharmonic Orchestra – and giving masterclasses in Tokyo and other cities.

Apart from his extensive activities within the world of classical music, Andreas Ottensamer has widened his horizon to other musical fields, resulting in a collaboration and recording with Tori Amos on her album Night of Hunters.

The beauty of tone and distinct musicality over a wide range of styles have won extensive critical plaudits for Andreas Ottensamer. Sybill Mahlke wrote in Der Tagesspiegel of his “limitless dynamic range . . . he plays with a vitality that pushes boundaries.” NRC Handelsblad said: “Andreas Ottensamer melts with his clarinet . . . he is an ‘übersolist’ and a phenomenon.” Rebecca Schmid wrote for MusicalAmerica.com: “Solo clarinettist Andreas Ottensamer played with particular finesse . . . and a touch of melancholy.”

Booklet for New Era