Mozart: Clarinet Concerto & Quintet
Sharon Kam (basset clarinet/director), Isabelle van Keulen & Ulrike-Anima Mathé (violin), Volker Jacobsen (viola) & Gustav Rivinius (cello)
Austro-Hungarian Haydn Philharmonie
it says much for Kam and her partners that they make each variation [in the Quintet] sound fresh and new, so that one welcomes the many repeats...Altogether a brilliantly successful disc of...
Mozart: Clarinet Concerto & Quintet
Sharon Kam (basset clarinet/director), Isabelle van Keulen & Ulrike-Anima Mathé (violin), Volker Jacobsen (viola) & Gustav Rivinius (cello)
Austro-Hungarian Haydn Philharmonie
Purchase product
it says much for Kam and her partners that they make each variation [in the Quintet] sound fresh and new, so that one welcomes the many repeats...Altogether a brilliantly successful disc of...
About
Winner of the prestigious ARD Competition in 1992, Sharon Kam was discovered and invited to Leipzig by Kurt Masur. Described by Time Out New York as having “generous lines” and creating “gracious phrasing and purity of timbre”, she is joined on this recording by other eminent musicians such as Gustav Rivinius.
Contents and tracklist
Excerpt,Mozart:
Clarinet Concerto in A major, K622
Work length18:14
This work is only available as an album download.
- Sharon Kam
- Österreichisch-Ungarische Haydn Philharmonie
I. Allegro
Track length11:46
This track is only available as an album download.
- Sharon Kam
- Österreichisch-Ungarische Haydn Philharmonie
Mozart:
Quintet for Clarinet, Two Violins, Viola and Violoncello in A Major, K. 581
Work length30:54
- Sharon Kam, Isabelle van Keulen (violin / fiddle), Ulrike-Anima Mathé (violin / fiddle), Volker Jacobsen (viola), Gustav Rivinius (cello)
Awards and reviews
December 2011
it says much for Kam and her partners that they make each variation [in the Quintet] sound fresh and new, so that one welcomes the many repeats...Altogether a brilliantly successful disc of this very desirable coupling, very well recorded.
January 2012
Kam presents these familiar works in a fresh approach throughout, in both pieces 'historically' light from all quarters as far as the modern instruments allow. Her approach privileges a mobile tone and sprightly articulation,with particularly successful results in the Rondo of the Concerto...The interpretative approach is for the most part direct and unfussy.
