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Richard A. Kaplan
Fanfare, September 2013

Müller’s compositions were largely vehicles for showing off his new instrument and his considerable virtuosity; this CD offers a generous selection of them.

Friederike Roth…has the technique to handle Müller’s most difficult writing, and an attractive…sound that is typical of today’s better German clarinetists. She is joined in the Souvenir de Dobbéran by the Berlin Philharmonic’s Wenzel Fuchs.

The rest of the supporting cast is strong as well; these are enjoyable performances. Müller’s music has had very few recordings, so this disc is a welcome addition to the clarinet repertoire. Recommended to clarinet specialists and mavens. © 2013 Fanfare Read complete review

David Denton
David's Review Corner, November 2012

Clarinets as we know them today are based on the designs that Iwan Muller promoted in the early 19th century. He had a checkered career as a virtuoso performer who looked to improve the instruments he played, leading to his creation of a manufacturing works that financially went upside down, leaving him once again as a touring soloist. He was not a prolific composer, almost all of his scores originating for his own us and include six concertos. The two Quartets date from 1820 when he was thirty-four and derive their inspiration from Mozart, the first fashioned in the conventional fast-slow-fast three movement format, the second having a long opening Allegro followed by a theme and variations. They are essentially a ‘concerto’ with a passive accompaniment, the thematic content always delightful if never quite achieving the memorable material Mozart unfailingly produced. Showing what could be achieved on his clarinets was obviously his first priority, and even in slow movements he manages to introduce finger dexterity. Soloist and teacher, the German-born, Friederike Roth, is excellent both in agility and his tonal quality avoids a squeaky top octave. The remainder of the disc is given to salon pieces with piano accompaniment, the most extended being a torturously difficult theme and variations on the minuet from the first act of Mozart’s Don Giovanni. Erika le Roux is the able pianist…The violin, viola and cello of the recently formed Berolina Ensemble provide able support in the Quartets. © 2012 David’s Review Corner

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