Brahms Clarinet Sonatas in F minor Op.120 No.1 & E-Flat major Op.120 No.2, Mendelssohn Sonatas in E-Flat major and Robert Schumann Phantasiestücke Op.73

At first it seems surprising that Emma Johnson has waited until now to record two pillars of the repertoire, Brahms's opus 120 clarinet sonatas, but it soon becomes apparent why: these are the fruit of Brahms's sunset years, works of profound maturity that require a deep understanding that only years of careful performance and interpretation can produce. The result is definitive; Johnson's gorgeous tone evoking the reputed delicate, warm and unaffected sound of the sonatas' dedicatee, Richard Mühlfeld. The Mendelssohn sonata, written when he was just 15, is a charming contrast, its youthful confidence beautifully captured by Johnson's winning partnership with John Lenehan, which is most strikingly apparent in their triumphant reading of the Schumann Phantasiestücke. A landmark disc. --Stephen Pritchard, The Observer, Sunday 8th April 2012

We owe an immense debt to Richard Muhlfeld. Brahms had retired when the Meiningen clarinettist s artistry drew him back to composition, as a result of which we have the clarinet trio and quintet, and these two sonatas, as well as the late piano pieces and the Four Serious Songs. I have heard more fiery accounts of the F minor sonata s first movement, but none that bring out so well its profound sadness. The 15 year-old Mendelssohn s E flat sonata is a delightful discovery: any danger of excessive blandness is banished by Johnson s beautiful phrasing and rich colours, and by Lenehans powerful playing. --David Cairnes, Sunday Times

No matter what s going on in the world, its good to know there are still artisans that dont pay lip service. They prepare, appreciate their craft, appreciate what has come before and are sincere in leaving their mark. Johnson, renown throughout Europe, is such a clarinet player. Not recording certain pieces until she was ready to do them proper justice, Johnson and Lenehan sound like a whole room full of sound as they deliver sparkling performances from three august composers that gave them a great deal to work with. Whether finding beauty in Brahms sadness or bringing out the playfulness in Mendelssohn and Schumann, Johnson loves her work and we love her for it. A classical record that has the juice to crossover because you have to be stupid not to recognize the grandeur here, this may not be the last word on these pieces but it certainly is a crystalline definitive statement. Hot stuff. --Chris Spector, Midwest Record

Brahms Clarinet Sonatas have always been overshadowed by his masterly Clarinet Quintet and Clarinet Trio. They are also less well known than his three Violin Sonatas. Both these Op. 120 works share a nostalgic and elusive mood that may go some way towards explaining their comparative neglect. This magnificent disc could well change this situation. The First Clarinet Sonata has great melodic charm and is more immediately attractive than its companion work. It is curious how the second movement seems to reinterpret the mood of the first of Brahms's Piano Pieces Op. 119. The phrases droop in a similar way and there is a profound sense of reflection, beautifully realised here by both these sensitive performers. In the third movement, the tempi and phrasing are ideally judged, a glorious rendition. Throughout the whole piece, Johnson and Lenehan revel in the mellowness of Brahms late inspiration to stunning effect. The Second Clarinet Sonata is perhaps a lesser work than the outstanding first. Listeners will decide for themselves if the variation finale provides a fully satisfying close to the piece. What is not in doubt is the calibre of this performance, which is outstanding in every respect. Johnson's luscious tone and Lenehan's idiomatic approach to Brahms's piano textures make this a particularly satisfying interpretation. The principal rival version is the fine Chandos recording featuring Gervase de Peyer and Gwenneth Prior. There is not much to choose between these two recordings and anyone who owns the Chandos disc should feel no need to replace it. Nevertheless, Johnson and Lenehan get closer to the heart of these splendid pieces, particularly in the middle movements of the First Sonata and in the central movement of No. 2. Mendelssohn's 1824 Sonata is a highly accomplished work written in the composer's early teens. The influence of Weber hovers benignly over much of the first movement, although there are hints of greater individuality, particularly in some of the brilliant piano passages. The decision to open the second movement with the clarinet unaccompanied is a lovely touch. This initial theme looks forward to the main idea of the slow movement of the Italian Symphony . Johnson and Lenehan fully realise the melancholic charm of this appealing movement. The finale is, in many ways, the most characteristic part of the Sonata and anticipates the brilliance of Mendelssohns later piano concertos. This is not a great work by any means, but it is eminently worth hearing, especially in such an ideally paced reading. Schumann's Phantasiestucke are given a relaxed and expansive performance. These attractive pieces also appear in the above mentioned Chandos disc with Gervase de Peyer; the present interpretation is every bit as perceptive. The third and final movement seems absolutely right here, as Schumann's quixotic changes in mood are superbly registered by both performers. This disc is probably the first choice for listeners interested in this programme and it is difficult to imagine these performances being surpassed. The sound quality is fully worthy of such distinguished music making and the booklet notes, by Emma Johnson herself, are interesting as well as informative. --David Jennings, Musicweb-international.com

No matter what s going on in the world, its good to know there are still artisans that dont pay lip service. They prepare, appreciate their craft, appreciate what has come before and are sincere in leaving their mark. Johnson, renown throughout Europe, is such a clarinet player. Not recording certain pieces until she was ready to do them proper justice, Johnson and Lenehan sound like a whole room full of sound as they deliver sparkling performances from three august composers that gave them a great deal to work with. Whether finding beauty in Brahms sadness or bringing out the playfulness in Mendelssohn and Schumann, Johnson loves her work and we love her for it. A classical record that has the juice to crossover because you have to be stupid not to recognize the grandeur here, this may not be the last word on these pieces but it certainly is a crystalline definitive statement. Hot stuff. --Chris Spector, Midwest Record

One of the few clarinettists to have established a busy international career as a soloist, Emma Johnson has performed across Europe the USA and the Far East, as well as in Africa and Australia. In Britain she has achieved great popularity, regularly playing to sold-out concert halls as well as appearing at the top of the classical CD charts. Emma Johnson has appeared as soloist with many leading orchestras including London Symphony, Philharmonia, English Chamber Orchestra, Tokyo Philharmonic, Salzburg Camerata and Netherlands Philharmonic in venues such as the Concertgebouw, Wigmore Hall and Kennedy Centre. Her repertoire includes over forty different concertos, some of which were written especially for her by composers such as John Dankworth, Michael Berkeley and Jonathan Dove. Praised by the New York Times for his 'great flair and virtuosity' and the London Times 'a masterly recital', John Lenehan's performances and recordings have been acclaimed throughout the world. As a soloist he has appeared with leading orchestras at home and abroad in 2010/11 making his debut with both the London Symphony Orchestra (at the Barbican) and the Royal Liverpool Philharmonic Orchestra (at Philharmonic Hall). His innovative recital programmes often include film projection and jazz repertoire. In a performing career spanning more than 30 years John Lenehan has collaborated with many leading instrumentalists and is recognised as an outstanding accompanist and chamber musician. During the past few years he has appeared in major concert halls in Amsterdam, Vienna, Salzburg, New York, Washington, Toronto, Seoul, Shanghai and Tokyo.