In her recordings with the Berolina Ensemble, clarinetist Friederike Roth has been reintroducing to contemporary audiences lesser-known chamber music by late 19th and early 20th-century composers. On the present SACD, Roth is one of two soloists in a program of concertos by another nearly forgotten composer, Egon Gabler (1876-1959).

A brief article about Egon Gabler by the composer’s grandson, which appears to be the source of the biographical information in this SACD’s liner notes, provides the only information in English that can be readily found online.

Gabler was the solo clarinetist at the Royal Court Theater in Hanover, an ardent supporter of Liszt and Wagner who performed at the Bayreuth Festival. He was a friend and chamber music colleague of the eminent pianist Walter Gieseking, and remained professionally active in Hannover until his retirement in 1944.

Handwritten manuscripts of Gabler’s compositions were stored by his heirs at the Berlin State Library “in the hope of rediscovery”. In the present recording, that hope has been fulfilled.

There is a German word, früher (literally, “earlier”), which carries a connotation that readers from German-speaking countries will understand: in an earlier time, things were better. As I listened to this SACD, guided by the scant biographical information, I found myself imagining the clarinetist-composer turning away from the contemporary developments of Mahler, Schönberg, and the Second Viennese School, his eyes fixed on Wagner and Liszt, giants of the früher generation.

Gabler’s admiration for the work of Richard Wagner is evident in the Horn Concerto’s songlike melodies, predictable harmonic movement, and sunny, pastoral tone. Because this SACD is the sole recording of the concerto in catalogue, I can only report that the interpretation of soloist Robert Langbein, a player gifted with effortless technical facility and a splendidly mellifluous tone, makes this performance entirely enjoyable.

It is in the two works for clarinet and orchestra that Gabler’s individual voice emerges more distinctly. The programming of this SACD suggests an evolution from the audience-pleasing Horn Concerto to the deeper reaches of feeling and invention in the subsequent clarinet pieces, though the liner notes do not include the dates on which those pieces were completed.

Announced by the ominous pounding of kettle drums and the thrum of agitato strings, the opening movement of the Clarinet Concerto No. 3 sets a mood of tension that is only gradually released into calmer passages of melancholy lyricism. Noteworthy is Gabler’s skill at orchestration and mastery of tone color; melodic figures arise and pass seamlessly among the wind and string sections. This three-movement work seems to fill an imaginary historical void: the clarinet concerto that Brahms never wrote. Yet the piece overall rises above its sources, and should certainly gain a more prominent place in the performing repertoire for clarinet and orchestra.

Late Romantic music can benefit from interpretations that refrain from overly emphatic gestures. In soloist Friederike Roth, Gabler’s music finds a true advocate. She brings clarity and restraint to works that in the hands of a more self-indulgent interpreter could fall prey to overly dramatic clichés. The Concert Piece for Clarinet showcases Roth’s elegant phrasing and superb technique. The idyllic mood, and the composer’s resolute resistance to the uncertainties and cultural changes of his time, stands in contrast to the more dramatic and nuanced Concerto.

The Philharmonie Baden-Baden, which was established in 1854, has in more recent years expanded in its scope of activities. Under the guidance of conductor Pavel Baleff, the orchestra gives first-rate performances of all three works on the disc. The lush, highly detailed recording by producers Werner Dabringhaus and Friedrich Wilhelm Rödding in MDG’s proprietary 2+2+2 configuration retains its deep soundstage in stereo. As a long-time listener primarily to MDG’s chamber music releases, I was impressed by the translation of the label’s ‘house sound’ to the larger forces of a philharmonic orchestra.

MDG should be commended for producing this excellent and beautifully recorded album. Roth’s SACD releases with the Berolina Ensemble are also highly recommended.

Copyright © 2025 Mark Werlin and HRAudio.net

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