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Debussy: Cello Sonata; Brahms: Clarinet Trio / Thornton, Yusuf, Myer
Steinway & Sons
Claude Debussy , Johannes Brahms
Brian Thornton , Spencer Myer , Afendi Yusuf
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Notes and Reviews
Cellist Brian Thornton is joined by pianist Spencer Myer and clarinetist Afendi Yusuf in a program of chamber music on the Steinway & Sons label. An impeccable performance of Debussy’s striking Cello Sonata is followed by the lovely Clarinet Trio by Brahms.
Recorded Direct to the Stereo Master at Clonick Hall Studio, Oberlin Conservatory of Music; Oberlin, Ohio on August 27 - 29, 2018.
Recording Producer: Thomas C. Moore, Five/Four Productions, Ltd.
Recording, Mix, and Mastering Engineer: Michael Bishop, Five/Four Productions, Ltd.
Recording Editor: Thomas C. Moore, Five/Four Productions, Ltd. Piano: Steinway Model D #464137 (New York)
Recorded and Mastered using
Five/Four Productions' REVEAL SDMTM Technology.
Executive Producer: Jon Feidner
Art Direction: Jackie Fugere
Design: Cover to Cover Design, Anilda Carrasquillo
Production Assistant: Renée Oakford
Yusuf has a large, rich, creamy tone and a flawless technique, together with taste, character, and intelligence to burn.
Here’s your chance to hear two prominent members of the Cleveland Orchestra up close and beautifully personal. Cellist Brian Thornton steps out of his section with two major works from the chamber-music canon with colleague Afendi Yusuf, the orchestra’s principal clarinet, and pianist Spencer Myer, a Northeast Ohio native and Cleveland International Piano Competition laureate. Start to finish, it’s musical poetry. Thornton, it seems, was born for this repertoire, wielding every bit of the depth and sensitivity it requires. Yusuf, meanwhile, delivers a lustrous performance, and Myer is in virtuoso form as both technician and communicator. Chamber music simply doesn’t get any better, or more intimate.
-- Cleveland Plain Dealer
Cellist Brian Thornton explores late chamber works by Debussy and Brahms with creative polish and refined sensitivity on his latest album from Steinway & Sons. Joined in masterful collaboration by a fellow Cleveland Orchestra member, principal clarinet Afendi Yusuf, and the superb pianist Spencer Myer, Thornton pairs Debussy’s 1915 Cello Sonata with Brahms’ 1891 Clarinet Trio, Op. 114, a thoughtful juxtaposition of the composers’ mature styles.
The Cello Sonata brought Debussy back to chamber music for the first time since his 1893 String Quartet. It also followed almost a year’s hiatus from composing after the outbreak of WWI, as he sought treatment for the colon cancer that was ravaging his health. He envisioned a series of “Six Sonatas for various instruments,” of which only three were completed before he succumbed in 1918. These final works were characterized by a return to Classical forms, drawing inspiration from the French Baroque. Aside from that, the Cello Sonata is harmonically jagged and thematically fragmented, a synthesis of different periods of Debussy’s career. The style is tricky to capture, but Thornton and Myer find the perfect balance of risk and reserve.
Myer handles the ornamented opening of the first movement with simple grace, smoothly following its pentatonic contours. Thornton joins forte with plaintive tone a few bars later, and the two organically gain energy. Even in quiet sections, they play with robust intensity, combining to great effect in the billowing color palette of the dolce sostenuto theme. Their sound dissolves into something more crystalline as the movement closes, hollow and twinkling.
Movements two and three are played attacca, emphasizing the piece’s drive to its conclusion. The duo tap into a common impulse, playing with phenomenal ensemble in the tricky pizzicato sections of the second movement. Some of the swells in the third movement create a bit of a frenzied edge, but Thornton and Myer stay in sync, moving as one, like sinuous waves of rubato lapping together at modal shores.
Although Brahms often talked about retiring from composition, he never did. Part of his inability to give it up was due to his 1891 meeting with Meiningen Court Orchestra clarinetist Richard Mühlfeld. Brahms had never used the clarinet in chamber works, and was completely taken by Mühlfeld’s virtuosity and mellifluous tone. Over the next three years, he wrote four chamber works for the instrument, all of which hold unshakeable positions in the repertoire. Showcasing Yusuf’s impressive chops and scintillating vision, this disc joins the ranks of the many great recordings of Op. 114.
Yusuf brings focused radiance to the brooding theme that begins the first movement, playing with the liquidity of the German school, but with the velvet tinge of the modern American orchestral clarinet. Leaving room for tasteful indulgences, all three musicians navigate easily between dynamism and stasis. Thornton displays impressive sensitivity towards the clarinet’s vast dynamic range, but the mixing of the album prioritizes the clarinet most of the time. Because Yusuf’s touch is so magical, this isn’t a major issue.
Compared to Brahms’ late clarinet works, the Trio feels like an introduction to what he would eventually accomplish. He’s not yet in full command of the instrument’s potential, and his themes almost drag toward the end. (His Clarinet Quintet in b, Op. 115, is a good deal longer, but flows by much more inventively.) Thus it becomes the task of the ensemble to enliven the Trio a bit, which they achieve by taking some choice risks in the last three movements. Yusuf blooms out of nowhere at the opening of the second, inviting Thornton to join in with similar expressive ideas. When both players submerge into their lower registers, they retain a delicate lightness of being.
Yusuf, Thornton, and Myer relish in the showmanship of the third movement, which feels like a conscious nod to its near-excessive sentimentality. They craft a host of different characters in the fourth, contrasting tempestuous themes with lovely sweet ones. As they push through to the end, they never lose their artistry, thoroughly committing to communal gestures. Both through courage and gentleness, they are worthy handlers of the masters’ music.
Recorded in Oberlin’s Clonick Hall by Michael Bishop and Thomas C. Moore of Five/Four Productions, the sound quality and balances are excellent.
Playing alongside pianist Spencer Myer and (on the Brahms) clarinetist Afendi Yusuf, cellist Brian Thornton delivers a triumphant program that creates a fascinating juxtaposition: the relatively abstract and rather melodically arid Debussy cello sonata against the deeply poignant and melodically rich Brahms clarinet trio opus 114. I don’t mean to suggest that the Debussy work is less than brilliant, only that it offers such a dramatic contrast to the lush emotion of the Brahms work; with the Debussy we hear the 20th century being born, whereas with the Brahms we hear the dying glory of the Romantic era. Thornton is a powerful advocate for both pieces, and Yusuf is particularly noteworthy for the sweetness of his tone. Strongly recommended to all libraries.
-- CD Hotlist
Sonata for Cello and Piano
Brian Thornton (Cello) , Spencer Myer (Piano)
Date of Recording:
Clonick Hall Studio,Oberlin, Ohio
12 Minutes 25 Secs.
Trio for Clarinet, Cello and Piano in A minor, Op. 114
Brian Thornton (Cello) , Spencer Myer (Piano) , Afendi Yusuf (Clarinet)
Date of Recording:
Clonick Hall Studio,Oberlin, Ohio
24 Minutes 51 Secs.
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