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Gone is Gone. Égide Duo, Joshua & Stefanie Gardner (2020)
The Clarinet, v. 49, no. 2, March 2022
As Égide Duo, clarinetists Joshua Gardner and Stefanie Gardner have commissioned works by Eric Mandat, Kurt Mehlenbacher, Jonathan Russell, John Steinmetz, Joel Love and others dedicated to effecting social change through music. They have been invited to perform at the International Clarinet Association ClarinetFest® and the College Music Society, and have performed throughout the U.S. and France. Additionally, Joshua teaches at Arizona State University and Stefanie teaches at Glendale Community College.
Eric Mandat’s The Bangui Anomaly is certainly a tour de force for clarinet and bass clarinet that was executed with both technical precision and beautiful colors in this recording. The blend between the Gardners is especially remarkable, as is their intonation in this performance. The cadenzas for each instrument, extreme in registral and technical demands, were handled with great command of technique and captivating musicianship.
This Homeless Way by Jonathan Russell is a very mournful work allowing the Gardners to display their lyrical and soulful playing. Again, intonation is impeccable in this work, as is ensemble cohesiveness and blend. As the disc does not indicate who is playing which instrument, I will say that, in movement two of this work, the soprano clarinetist sings from the heart employing an impressive range of colors and styles. In movement three, the bass clarinetist gets their opportunity to shine with their soulful, cantabile playing. Wide registral leaps were handled with superb control by both players.
The third work on this disc is Lost and Forgotten by Kurt Mehlenbacher, in four movements. The striking element of the first movement is the performers’ creation of perfectly-blended klangfarbenmelodie amidst a mostly ostinato underpinning. Articulation is especially remarkable in this performance. Dynamics and colors are aptly displayed here as well as consistent technical mastery that is evident throughout the disc. The final movement of this work exhibits the performers’ fluency of extended techniques such as slap and flutter tonguing. This movement sparkles with rhythmic energy and jazzy soprano clarinet style.
Composer Steven Bryant wrote his Duet for clarinet and bass clarinet in 2020. The opening of the work seems to be an homage to Stravinsky’s first piece in Three Pieces for Clarinet Solo in its melancholic opening. The work follows with a theme in quartal and quintal harmonies which are handled with exquisite intonation. The following jaunty, humorous section is performed with much style and panache. Kudos, again, to the soprano clarinetist’s jazzy styling here. Pitch bending by both was also quite impressive. The chorale section displayed their consistently excellent pitch on this disc.
Coal Seams was written by John Steinmetz in 2019. As with the Bryant work, the opening movement is comprised of mostly open harmonies which, again, demonstrate Gardner and Gardner’s perfect handling of intonation. Movement two is a lighthearted romp that is delivered with consummate style and humor. The final movement, Gone is Gone, is a somber, reflective chorale that is performed beautifully and further demonstrates the pair’s intonation, blend and lyricism.
Égide Duo has provided us with an extremely well-played recording that features works that are sure to become standard in the clarinet duo canon.
– Kenneth Long
The Clarinet, v. 49, no. 2, March 2022
As Égide Duo, clarinetists Joshua Gardner and Stefanie Gardner have commissioned works by Eric Mandat, Kurt Mehlenbacher, Jonathan Russell, John Steinmetz, Joel Love and others dedicated to effecting social change through music. They have been invited to perform at the International Clarinet Association ClarinetFest® and the College Music Society, and have performed throughout the U.S. and France. Additionally, Joshua teaches at Arizona State University and Stefanie teaches at Glendale Community College.
Eric Mandat’s The Bangui Anomaly is certainly a tour de force for clarinet and bass clarinet that was executed with both technical precision and beautiful colors in this recording. The blend between the Gardners is especially remarkable, as is their intonation in this performance. The cadenzas for each instrument, extreme in registral and technical demands, were handled with great command of technique and captivating musicianship.
This Homeless Way by Jonathan Russell is a very mournful work allowing the Gardners to display their lyrical and soulful playing. Again, intonation is impeccable in this work, as is ensemble cohesiveness and blend. As the disc does not indicate who is playing which instrument, I will say that, in movement two of this work, the soprano clarinetist sings from the heart employing an impressive range of colors and styles. In movement three, the bass clarinetist gets their opportunity to shine with their soulful, cantabile playing. Wide registral leaps were handled with superb control by both players.
The third work on this disc is Lost and Forgotten by Kurt Mehlenbacher, in four movements. The striking element of the first movement is the performers’ creation of perfectly-blended klangfarbenmelodie amidst a mostly ostinato underpinning. Articulation is especially remarkable in this performance. Dynamics and colors are aptly displayed here as well as consistent technical mastery that is evident throughout the disc. The final movement of this work exhibits the performers’ fluency of extended techniques such as slap and flutter tonguing. This movement sparkles with rhythmic energy and jazzy soprano clarinet style.
Composer Steven Bryant wrote his Duet for clarinet and bass clarinet in 2020. The opening of the work seems to be an homage to Stravinsky’s first piece in Three Pieces for Clarinet Solo in its melancholic opening. The work follows with a theme in quartal and quintal harmonies which are handled with exquisite intonation. The following jaunty, humorous section is performed with much style and panache. Kudos, again, to the soprano clarinetist’s jazzy styling here. Pitch bending by both was also quite impressive. The chorale section displayed their consistently excellent pitch on this disc.
Coal Seams was written by John Steinmetz in 2019. As with the Bryant work, the opening movement is comprised of mostly open harmonies which, again, demonstrate Gardner and Gardner’s perfect handling of intonation. Movement two is a lighthearted romp that is delivered with consummate style and humor. The final movement, Gone is Gone, is a somber, reflective chorale that is performed beautifully and further demonstrates the pair’s intonation, blend and lyricism.
Égide Duo has provided us with an extremely well-played recording that features works that are sure to become standard in the clarinet duo canon.
– Kenneth Long