Iwan Müller (1786-1854) - Concertante, Op.23 (1826)

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Composer: Iwan Müller (1786-1854)
Work: Concertante in Es-dur für 2 Klarinetten und Militärorchester, Op.23 (1826)
Performers: Cindy Christеnsеn (clarinet); Don Christеnsеn (clarinet); Rundfunk-Blasorchester Lеipzig; Mοtti Mirοn (conductor)
Painting: Jacques Barraband (1767-1809) - Deux coqs se battant (1806)
Image in high resolution: flic.kr/p/2hmidfT
Further info: www.amazon.com...
Listen free: No available
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Iwan Müller
(Reval [now Tallinn], 3 December 1786 - Bückeburg, 4 February 1854)
German clarinettist and basset-horn player. He was also active as an inventor: in 1808 he produced an 18-key basset-horn, and in 1809 a prototype clarinet of the class now known as ‘simple system’. The clarinet had 13 keys, seven of which were new, and gave much better intonation through more carefully placed holes. Müller was the first to use stuffed pads over counter-sunk tone holes, and in 1817 he invented the metal ligature. Early in his career he added three keys to the bassoon, which he played at that time, and later claimed the invention of the alto clarinet. Müller was no less energetic as a performer; his ‘carrière agitée’, as Fétis called it, took him to all major European cities. Wherever he went he advertised his new clarinet, and his success as an artist inspired composers to write specifically for it. His style was brilliant and expressive, though impetuous and somewhat lacking in polish. From 1800 he was in St Petersburg, where he became an imperial chamber musician. He left in 1807 and travelled through Austria and Germany to Paris, where he spent considerable periods throughout his life, though without any fixed appointment. Müller lived in England from 1815 to 1820 and during 1829; he dedicated his tutor of 1825 to George IV. In later years he made several extremely successful Italian tours, and he ended his days as court musician to the Prince of Schaumburg-Lippe. His studies are still used, but his numerous concert pieces are no longer popular.

[@duffle2000]

I am one of the clarinetists on this recording - it's been a while since we made this (1990) in Leipzig. It brought back some good memories. Thank you for posting this.

[@Reciclassicat]

Great!! I am so glad you like it! Thank you for beautiful performance. Amazing recording!

[@Chorizo727]

Are these all modern instruments? Or are they period instruments with modern tuning?

[@duffle2000]

@@Chorizo727 Soloists and well as the wind ensemble are all playing modern instruments. Just be aware that these are all German-made instruments, and that the clarinets used by the soloists as well as in the ensemble are Oehler-system clarinets that can sound a bit different than the Boehm-system clarinets used throughout most of the rest of the world.

[@q_qsweetie7302]

Impresionada con los gallos. Gracias por todo lo que sube aquí!

[@rainday6]

OK; I can't honestly say I like it. Nor do I dislike it. But I do hear some truly unique phrases and qualities that, while similar to those of his contemporary Rossini, are in ways freer and more whimsical -- yet have their very own stamp. I'm going to go out on a limb and even suggest that he was the early 19th C.'s Charles Ives.

[@Reciclassicat]

I can't help you. I am not used to Charles Ives music at all... sorry ;-)

[@rainday6]

Pau NG I don't think anyone could get used to Charles lves! As a composer, he was an exemplary insurance salesman. (TBH, I not only couldn't stand him when I was younger, I couldn't understand how he ever could've gotten any music published. In later years I started listening with a closeer ear, and I got the attraction to his music even though I don't always like it.)