Search - Aaron Copland, Leonard Bernstein, Morton Gould :: American Classics: Music for Clarinet

Here are a young Israeli clarinetist, an English orchestra, and what sounds like a German conductor (the booklet gives no information about the performers) playing American jazz as if to the manner born. Sharon Kam has proved in concert performances of classical music that she is a virtuoso with a strong musical personality. Here, she proves that, in addition to having complete mastery of her instrument and all its resources, she also has an uncanny ability to identify with the styles and idioms of her adopted country. Only in Gershwin's "Summertime" do the jazzy inflections and liberties sound artificial; otherwise, she produces just the right kind of vibrato, sliding, rhythmic flexibility, and expression. Her tone is full of variety and beautiful over a huge range; even at the top--and she goes up to a high B-flat--it does not sound shrill; her facility and security are fabulous. Copland's Concerto, written for Benny Goodman, is very tonal, chordal, and simple, though the second part is brilliant and rather dissonant. In the first of Bernstein's three pieces, the solo melts into the band; the others are perhaps the wildest, most raucous music on the program. Morton Gould's "Derivations" come as a relief: mild, pleasant, and singing, they let the soloist engage in conversation with members of the band, and finally become more driving. Artie Shaw clearly wrote his Concerto for himself, and Kam plays it to the hilt for technical and tonal virtuosity. The arrangements of Gershwin's famous songs demonstrate the vocal quality of the clarinet. The orchestra, from which the various band combinations are extracted, matches Kam's style admirably. --Edith Eisler