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How I Met Mozart

Pierre Génisson (clarinet)

Quartet 212

How I Met Mozart
From the opening bars, where Génisson glides in from above and settles easily into a lilting melody, to the bubbling, exuberantly over-the-top finish, these players seem to me to strike exactly...

How I Met Mozart

Pierre Génisson (clarinet)

Quartet 212

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88.2 kHz, 24 bit, FLAC/ALAC/WAV

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44.1 kHz, 16 bit, FLAC/ALAC/WAV

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320 kbps, MP3

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This release includes a digital booklet

Stream now Hi-RES 88.2 kHz, 24 bit
From the opening bars, where Génisson glides in from above and settles easily into a lilting melody, to the bubbling, exuberantly over-the-top finish, these players seem to me to strike exactly...

About

Clarinettist Pierre Génisson and Quartet 212, made up of musicians from the Metropolitan Opera, gather around the quintets of Mozart and Weber, related by Wolfi and Constanze's wedding. Those two radiant scores, where the warm and voluptuous timbre of the clarinet melts in the brightness of the strings, frame their passionate dialogue in a sophisticated blend that the album's title, 'How I met Mozart', updates mischievously.

Born in 1986, Pierre Génisson is one of the best representatives of the French new generation of woodwind players. Winner of the prestigious Carl Nielsen International Competition, he won the 1st Prize and the Audience Prize of the International Competition Jacques Lancelot of Tokyo. He then made his first recording ‘Made in France’ with the pianist David Bismuth for Aparté label. Acclaimed by the press, it received in particular a Diapason d'Or and the 4 "ffff" of the magazine Télérama.

Contents and tracklist

Quintette pour clarinette et cordes, K. 581
Track length9:31
II. Larghetto
Track length6:47
III. Menuetto - Trio I - Trio II
Track length7:01
IV. Allegretto con variazioni
Track length9:40
I. Allegro
Track length10:45
II. Fantasia: Adagio
Track length5:24
III. Menuetto
Track length5:35
IV. Rondo: Allegro
Track length6:33

Awards and reviews

August 2017

From the opening bars, where Génisson glides in from above and settles easily into a lilting melody, to the bubbling, exuberantly over-the-top finish, these players seem to me to strike exactly the right balance of wit and theatricality: surging dramatically towards the climax of the second-movement Fantasia and solving the rhythmic puzzles of the Menuetto with tongues very much in cheek

30th July 2017

This is chamber playing of the highest order, exhibiting wit and brilliance as well as pathos and soul.
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