“Kathryne Pirtle’s fluent and communicative clarinet playing was first-class throughout. Her refined and aria-like phrasing in the lovely, long-breathed slow movement proved a highlight, with the glowing coda beautifully rendered.”
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Classical Studies for Clarinet:
Clarinet Method, Transcription
$9.99
Tracks
1-4. Suite I 9:55
Prelude/Courante/Minuets I and II/Gigue
5-6. Suite II 5:01
Prelude/Gigue
7-8. Suite III 14:23
Allemande/Bourées I and II/Courante/Gigue
11-15. Suite IV 16:56
Prélude/Allemande/Bourées I and II/Gigue
16-17. Suite V 7:33
Courante/Gigue
18-20. Partita in B Minor 8:13
Corrente/Double (9/8)/Double (2/2)
21. Sonate II in A Major 6:04
Allegro
22. Second Little Prelude 1:35
Moderato
This recording of selected Bach unaccompanied cello and violin repertoire offers works from the Himie Voxmann transcription, Classical Studies for Clarinet, based upon the Solo Sonatas, Partitas and Suites of Bach and Handel (Hal Leonard), that I felt were most suitable for clarinet performance. As with the Telemann Fantasias, I want to inspire clarinetists to regard these masterpieces as important concert repertoire—beyond etudes. Considering their reflective beauty, they are also poignant choices for religious services and other settings.
This Voxman edition has been available since 1948. My journey of performing these pieces began in 1976, when I received the transcription as a gift from my teacher. Since then, they have been a constant companion throughout my years of as a performing artist and teacher. The repertoire continues to play a key role in developing and challenging every aspect of my artistry—tone, articulation, technique, breathing and the ever-unfolding process of interpretation.
As is true for the Telemann, I believe these profound works are among the finest body of unaccompanied works available for the clarinet. My recording reflects a few corrections and articulation suggestions based on the original manuscript and the recordings of Pablo Casals and Nathan Milstein. I offer the phrasing and interpretation as possibilities; however, each artist should feel free to develop their own unique approach.
I am grateful to Himie Voxman for painstakingly transcribing this music for future generations of clarinetists. I want to express my appreciation to Paul Lavender, Mike Sweeney and Jim Gagne at Hal Leonard for their insight into the importance of this project. Many thanks also go to Ed Ingold for engineering and to WFMT for the use of the Levin Studio.