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Duos. Šarūnas Jankauskas, clarinet; Jaclyn Wappel, harp; Beth Chandler, alto flute; David Pope, tenor saxophone; Jamison Walker, tenor; Paulo Steinberg, piano; Casey Cangelosi, marimba; Mark Foley, double bass. J. Haney: Fernweh; P. Kerekes: blur; Š. Jankauskas: Four Somewhat Connected Visions; R. Lavenda: Fragments; G. Santiago: Choro for Kristin; E.F. Greene: nana; Z. Stanton: Stompin’ Grounds. Soundset Recordings, SR 1116. Total Time: 61:57.
Duos contains several works for the clarinet and another part in somewhat non-traditional pairs. Šarūnas Jankauskas was involved in the genesis of nearly every work on the album, which is the capstone of a years-long project. Each work on this disc is a unique listening experience and the album brings engaging and refreshing new pieces to the canon of duo repertoire.
The opening work, Jason Haney’s Fernweh, is full of longing and nostalgia. Translated roughly as “homesickness, but for a place you’ve never visited,” this work for clarinet and harp is spacious
and poignant. Jankauskas’s tone is rich and deep in the chalumeau register and appropriately vibrant in the upper partials. Both he and harpist Jaclyn Wappel deserve credit for the even, ever-evolving pacing of the piece. Scrupulous detail has been given to ensemble attack and intonation, resulting in a remarkably reflective and engaging interpretation.
"blur" by Paul Kerekes is scored for clarinet and alto flute. Beth Chandler’s articulations on the alto flute are refreshingly pointed and clear. Throughout, the intonation from both players is astoundingly on point resulting in seamless tradeoffs of unison pitches and continuous, meditative ostinatos. Often it is difficult to discern which instrument is playing.
Jankauskas’s duality as a performer and composer is showcased in his "Four Somewhat Connected Visions," a set of four short movements for clarinet and tenor saxophone. His whirling, fluent technical passagework throughout the entire clarinet range in “Awaiting Takeoff” is sinuous and seamless. The juxtaposition of loud and soft dynamic between the two instruments offers a unique and effective contrast. Jankauskas and saxophonist David Pope are perfectly-matched forces. Pope’s playing in the third movement, “Things I Told You Yesterday,” is passionate and songlike with full-voiced multiphonics. The final movement is a powerful theme and variations on the hymn “Down to the River to Pray” which Pope and Jankauskas deliver with soul and spirit.
"Fragments" by Richard Lavenda is composed for clarinet and tenor voice. Jankauskas extended solo passages are proficiently paced and contain an enlivening contrast of range and dynamic. More than any work on the album, his control and nuance of tone shine through here. He perfectly emulates tenor Jamison Walker’s resonate, unblemished diction and elocution. The lyrics are delightfully witty and make for a beguiling rendition of the piece.
Gabriel Santiago’s "Choro for Kristin" for clarinet and piano is the sole work
on the album not commissioned by Jankauskas. Intimate and bourgeoning, the opening interplay unfolds into a fully-developed choro melody. Jankauska’s lyrical tone is unified across the registers and his articulation is keen, rhythmical and piquant. Pianist Paulo Steinberg contributes lush and rich harmonies that support Jankauska’s bittersweet lyricism.
nana for clarinet and marimba by Ethan Frederick Greene is a soft and introspective work. Jankauskas and Casey Cangelosi perform this work with immaculate intonation and a delicacy
of articulation that is equally lulling and striking. The judicious use of silences contributes greatly to the effectiveness of the interpretation. Both performers are fully integrated in their execution of attack and phrase with perfect cohesion of time and contour. This is the most powerful and moving work on the disc. The final work, Zack Stanton’s "Stompin’ Grounds," pairs the clarinet with the double bass. Jankauskas and bassist Mark Foley present a bluegrass–infused throwback to the composer’s roots. Jankauskas is totally in his element in this work with ripping technical runs, altissimo riffs and slap tonguing.
The album Duos is an effective example of the clarinet’s eclecticism. It showcases the varied styles and timbral blends of which the instrument is capable. Jankauskas is a consummate and versatile performer, and this album is a must for those interested in programming new works for clarinet in less-common duo combinations.
- The Clarinet, March 2022
Duos contains several works for the clarinet and another part in somewhat non-traditional pairs. Šarūnas Jankauskas was involved in the genesis of nearly every work on the album, which is the capstone of a years-long project. Each work on this disc is a unique listening experience and the album brings engaging and refreshing new pieces to the canon of duo repertoire.
The opening work, Jason Haney’s Fernweh, is full of longing and nostalgia. Translated roughly as “homesickness, but for a place you’ve never visited,” this work for clarinet and harp is spacious
and poignant. Jankauskas’s tone is rich and deep in the chalumeau register and appropriately vibrant in the upper partials. Both he and harpist Jaclyn Wappel deserve credit for the even, ever-evolving pacing of the piece. Scrupulous detail has been given to ensemble attack and intonation, resulting in a remarkably reflective and engaging interpretation.
"blur" by Paul Kerekes is scored for clarinet and alto flute. Beth Chandler’s articulations on the alto flute are refreshingly pointed and clear. Throughout, the intonation from both players is astoundingly on point resulting in seamless tradeoffs of unison pitches and continuous, meditative ostinatos. Often it is difficult to discern which instrument is playing.
Jankauskas’s duality as a performer and composer is showcased in his "Four Somewhat Connected Visions," a set of four short movements for clarinet and tenor saxophone. His whirling, fluent technical passagework throughout the entire clarinet range in “Awaiting Takeoff” is sinuous and seamless. The juxtaposition of loud and soft dynamic between the two instruments offers a unique and effective contrast. Jankauskas and saxophonist David Pope are perfectly-matched forces. Pope’s playing in the third movement, “Things I Told You Yesterday,” is passionate and songlike with full-voiced multiphonics. The final movement is a powerful theme and variations on the hymn “Down to the River to Pray” which Pope and Jankauskas deliver with soul and spirit.
"Fragments" by Richard Lavenda is composed for clarinet and tenor voice. Jankauskas extended solo passages are proficiently paced and contain an enlivening contrast of range and dynamic. More than any work on the album, his control and nuance of tone shine through here. He perfectly emulates tenor Jamison Walker’s resonate, unblemished diction and elocution. The lyrics are delightfully witty and make for a beguiling rendition of the piece.
Gabriel Santiago’s "Choro for Kristin" for clarinet and piano is the sole work
on the album not commissioned by Jankauskas. Intimate and bourgeoning, the opening interplay unfolds into a fully-developed choro melody. Jankauska’s lyrical tone is unified across the registers and his articulation is keen, rhythmical and piquant. Pianist Paulo Steinberg contributes lush and rich harmonies that support Jankauska’s bittersweet lyricism.
nana for clarinet and marimba by Ethan Frederick Greene is a soft and introspective work. Jankauskas and Casey Cangelosi perform this work with immaculate intonation and a delicacy
of articulation that is equally lulling and striking. The judicious use of silences contributes greatly to the effectiveness of the interpretation. Both performers are fully integrated in their execution of attack and phrase with perfect cohesion of time and contour. This is the most powerful and moving work on the disc. The final work, Zack Stanton’s "Stompin’ Grounds," pairs the clarinet with the double bass. Jankauskas and bassist Mark Foley present a bluegrass–infused throwback to the composer’s roots. Jankauskas is totally in his element in this work with ripping technical runs, altissimo riffs and slap tonguing.
The album Duos is an effective example of the clarinet’s eclecticism. It showcases the varied styles and timbral blends of which the instrument is capable. Jankauskas is a consummate and versatile performer, and this album is a must for those interested in programming new works for clarinet in less-common duo combinations.
- The Clarinet, March 2022