The circumstances surrounding the composition and first performance of the Suite in B flat major, Op 4, were to prove enormously significant for Strauss’s career. Von Bülow decided to give the premiere of the new work in Munich in the winter of 1884 during an orchestral tour. Furthermore, since the players had already familiarized themselves with the music in Meiningen that autumn, he thought it would be appropriate if the composer himself conducted this performance according to his own interpretation.

On Synergy, flautist Sharon Bezaly and her musician friends demonstrate that one plus one can be much greater than two. Featuring works that celebrate the coming together of like-minded musicians, this project is a reminder, after more than two years of a pandemic that has affected all of us, that true musical synergy can only be achieved 'face-to-face’, rather than ‘remotely’.

Friends of long standing as well as regular partners in chamber music, Michael Collins and Stephen Hough bring their combined musical insights and expertise to bear on Johannes Brahms’s sonatas for clarinet and piano. Together with the composer’s trio for clarinet, cello and piano and clarinet quintet, the sonatas are among the most treasured works in the repertoire of the instrument – but it is partly down to good luck that we have them at all. When Brahms in 1891 heard the clarinettist Richard Mühlfeld, principal clarinet of the Meiningen Court Orchestra, he had already announced his retirement. He was enraptured by Mühlfeld’s playing and its vocal qualities, however, and made a ‘comeback’: during the following couple of years he composed all four of his clarinet works.

The two concertos performed here by Michael Collins and the Philharmonia Orchestra were both intended for a specific player – Mozart composed his for Anton Stadler and Richard Birchall for Michael Collins himself. Both works – as well as Mozart's Clarinet Quintet – were also written for a particular instrument: the basset clarinet, a slightly larger and deeper clarinet than the one in A which soon after Mozart had written his concerto became the standard. At the very core of the clarinet repertoire, the two works by Mozart have until recently been played on the A clarinet, with necessary adjustments being made to the solo part. Nowadays, however, they are more and more often performed on the instrument they were intended for.

Friends of long standing as well as regular partners in chamber music, Michael Collins and Stephen Hough bring their combined musical insights and expertise to bear on Johannes Brahms’s sonatas for clarinet and piano. Together with the composer’s trio for clarinet, cello and piano and clarinet quintet, the sonatas are among the most treasured works in the repertoire of the instrument – but it is partly down to good luck that we have them at all. When Brahms in 1891 heard the clarinettist Richard Mühlfeld, principal clarinet of the Meiningen Court Orchestra, he had already announced his retirement. He was enraptured by Mühlfeld’s playing and its vocal qualities, however, and made a ‘comeback’: during the following couple of years he composed all four of his clarinet works.

Michael Collins MBE is one of the most complete musicians of his generation. Continuing his distinguished career as a soloist, he has in recent years also become highly regarded as a conductor and in 2010 took up the position as Principal Conductor of the City of London Sinfonia, and works with leading orchestras around the world both as a soloist and as a conductor. Committed for many years to expanding the repertoire of the clarinet, he has premiered works by some of todays most highly regarded composers, including John Adams, Elliott Carter, Brett Dean and Mark-Anthony Turnage. In addition to commissioning and supporting new compositions, he is also a champion of well-crafted arrangements of other works for the clarinet.

Up until around 1900 the clarinet repertoire was dominated by music from the German-speaking lands, largely due to the influence of three outstanding clarinetists. Inspired by Anton Stadler, Heinrich Bärmann and Richard Mühlfeld respectively, Mozart, Weber and Brahms composed some of the finest clarinet works ever written.