13 Songs, 1 Hour, 5 Minutes


Customer Reviews

Copland at its finest


The first three tracks on this album are absolutely amazing. The are revamped to reflect Coplands original score before Goodman made his own changes. This song is captivating and beautifully played by Neidich.

Very interesting interpretation of the Copland

Don't need a name

I love the Copland concerto because there are so many different ways to interpret it. The first movement of this rendition was heartbreakingly beautiful. I'm a sucker for slow Copland. The cadenza was... interesting. The clarinetist's technique was flawless, there's no doubt about it. But just because you can play at 9001 bpm doesn't mean you should. Not necessarily my cup of tea, but cool nonetheless. Same goes for the random raising of the octaves of passages in mvt 3. The jazzy influences were great, but there were times when I felt the showboating threatened to compromise the work. It is overall a really great edition and I certainly think it's worth checking out!

A Special Album, and a Great Buy


Having listened to the whole of the album, I can reassure the prospective buyer of its high quality and musicianship. The Musici de Montreal (and the Montreal Symphony for that matter) have earned my money for producing such high quality music as this.

But of course, the highlight of the album would be between two songs: the Copland and the Barber!

The Copland in its original form is, unbelievably, still more difficult! It is clear that Copland wanted to truly make a virtuoso's ultimate challenge for the concerto, worthy of Benny Goodman - regardless of whether Benny could play the thing! Reaching up into the ultra-high register for Clarinet, at points going higher than even the highest fingerings regularly taught, and with a particular impossible ending, this edition has flair and bombast.

That being said, Neidich did something I have been looking for in performances of the Copland: playing it perfectly! Every version I have heard, from the Shiffrin to the Goodman and to the deviatory Stoltzman, has had some form of mistep or mistake. Neidich's only mistake is his ultra-virtuosity, delivering the cadenza blisteringly fast but admittedly with little care it seems for the actual beauty of it. Regardless, he's the only one to play it right by my ears so he's earned his right to show off.

After that monster of a review, I'll simply say that the Adagio is as you would expect. Wonderful! Or rather somber. Wonderfully somber I shall say.

An album worth your money, no doubt!



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