Discografía

Joan Enric Lluna

Aneta Ilic
Stefan Dohr
Joan Enric Lluna
Isidora Zebeljan
Miroslav Karlovic
Boban Stosic
Premil Petrovic

Alexander String Quartet. Joan Enric Lluna, clarinet

George Gershwin, arranged by Carl Davis. Porgy & Bess Selections for Clarinet and Strings (based on the Heiftz arrangements for violin) (14:03)

1. Summertime (3:14) / 2. A Woman is a Sometime Thing (2:36) / 3. Bess, You is My Woman Now (5:35) / 4. It Ain’t Necessarily So (2:38)

Jerome Kern (26:24)

5. All the Things You Are (4:39) / 6. The Way You Look Tonight (4:46) / 7. Bill (4:05) / 8. The Song is You (5:01) / 9. Smoke Gets in Your Eyes (4:30) / 10. One in a Blue Moon (4:03)

George Gershwin

11. Lullaby for String Quartet (7:11)

Total Playing Time: (48:15)

Moonwinds, Joan Enric Lluna

Mozart Serenatas. Moonwinds

Wolfgang Amadeus Mozart, Serenata en Mi b Mayor K375

1. Allegro maestoso / 2. Menuetto I / 3. Adagio / 4. Menuetto II / 5. Allegro

Serenata en Do menor K388 (384a)

6. Allegro / 7. Andante / 8. Menuetto in canone – Trio al canone rovescio / 9. Allegro

Joan Enric Lluna

César Cano, Quintet for Clarinet and Strings, Op. 74 (2011) (20:22)

1. I. Veladas Proporciones (4:43) / 2. II. Ecos y Lances (5:45) / 3. III. Cantos Oblicuos (4:16) / 4. IV. Pulso Florido (5:25)

Johannes Brahms, Quintet in B Minor for Clarinet and Strings, Op. 115 (1891) (39:10)

5. I. Allegro (13:14) / 6. II. Adagio (11:38) / 7. III. Andantino, Presto non assai, assai, ma con sentimento (4:20) / 8. IV. Con moto (9:18)

Total playing time: 59:38

Joan Enric Lluna

Elogio del Horizonte. Sánchez-Verdú

Joan Enric Lluna, Tokyo String Quartet

Brahms. Tokyo String Quartet. Clarinet Quintet and Trio

HMI987048. Harmonia Mundi

Johannes Brahms (1833-1897)

Quintet for clarinet and string quartet op.115

1. Allegro (13:21) / 2. Adagio (11:40) / 3. Andantino. Presto non assai, ma con sentimento (4:48) /  4. Finale: con moto (9:55)

Trio for clarinet, cello and piano op.114

1. Allegro (7:34) / 2. Adagio (7:23) / 3. Andantino Grazioso (4:27) / 4. Allegro (4:43)

Clarinet quintet and Trio. J.E. Lluna, Tokyo String Quartet, Lluis Claret (violoncello),Josep Colom (piano)

Écrits en 1891 sous l’impulsion du fameux clarinettiste Richard Mühfeld, le trio et le quintette pour clarinette ouvrent la dernière période créatrice de Brahms, qui avait auparavant décidé de reconcer à la composition. Ces oeuvres sont considérées comme faisant partie de ses meilleures pièces instrumentales.

Composed in 1891 under the influence of the famous clarinettist Richard Mühlfeld,  the trio and quintet for clarinet mark Brahms‘ last creative period, as he had previously resolved to stop composing. These works are considered part of his best instrumental pieces.

Compuestos en 1891 por influencia del famoso clarinetista Richard Mühlfeld, el trío y quinteto para clarinete rubrican el último periodo creativo de Brahms, quien había renunciado anteriormente a componer. Estas obras están consideradas como parte de sus mejores piezas instrumentales.

Joan Enric Lluna

Mozart. Gran partita

Wolfgang Amadeus Mozart (1756-1791)

Serenata en Si b Mayor K.361 Gran Partita

1. Largo-Molto Allegro (9:06) / 2. Menuetto-Trio I-Trio II  (8:21)/ 3. Adagio (5:10)/ 4. Menuetto: Allegretto-Trio I-Trio II (4:35)/ 5. Romance: Adagio-Alegretto (6:21)/ 6. Tema con 6 variazioni (Andante) (9:10)/ 7. Finale (Molto Allegro) (3:20)

El rapto en el serrallo (Arreglo para viento deJohann Nepomuk Wendt)

8. Obertura (Presto) (1:27)/ 9. ‘Hier soll ich dich sehen’ (2:44)/ 10. ‘Ich gehe, doch rate ich dir’ (2:54)/ 11. ‘Durch Zärlichkeit und Schmeichein’ (2:54)/ 12. ‘Wenn der Freude Tränen fliessen’ (3:49)/ 13. ‘Ha, wie will triumphieren’ (1:56)/ 14. ‘Welche Wonne, welche Lust’ (2:38)/ 15. ‘Vivat Bacchus, Bachus lebe’ (1:59)

Vicente Martín y Soler (1754-1806)

Divertimento para octeto de viento sobre temas de Una cosa rara

16. Allegro con brio (2:44)/ 17. Andante sostenuto (3:03)/ 18. Allegro (2:05)/ 19. Cotillón-Trío (1:41)

Duración total: 76:07

Mozart y sus contemporáneos a menudo debían satisfacer los pedidos musicales de la aristocracia para todo tipo de eventos mundanos. Sin embargo, el músico de Salzburgo supo otorgar una dimensión mucho más profunda a un género tradicionalmente sin demasiadas pretensiones y la Gran Partita, sin perder su finalidad lúdica, es una magnífica muestra de ello. Paralelamente, losDivertimentos de Martín y Soler sobre Una cosa rara, y de Went sobre El Rapto en el Serrallo, completan un retrato certero de lo que era, en el siglo XVIII, la música de noble entretenimiento.

Along with his contemporaries, Mozart was often called upon to fulfil de aristocracy’s musical requests destined for all kinds of society events. He, for sure, knew how to provide a much profounder dimension to any genre which did no normally have too many expectations placed upon it and the Gran Partita, without losing its playful aim, is a superb example of this. In a similar way, theDivertimentos of Martín y Soler on Una cosa rara, and of Went on Die Entfübrung aus dem Serail, fill out an accurate portrait of what was, in the 18th century, music meant for noble entertainment.

Joan Enric Lluna, clarinete. Nigel Clayton, piano

Rossini y España

HMA1957029 Harmonia Mundi

Fantasia en mi bemol mayor (Ramón Carnicer), Primer solo de concierto (Antonio Romero), Introducción, tema y variaciones (Gioachino Rossini), Estudio nº10 (Versión para clarinete y piano de Joan Enric Lluna) (Antonio Romero), Fantasía sobre Una voce poco fa (Iwan Müller-Gioachino Rossini), Fiori rossiniani (Ernesto Cavallini), Fantasía en mi bemol mayor (Gioachino Rossini), Fantasía sobre motivos de Lucrezia Borgia (Antonio Romero)

Se recuperan en esta grabación algunas de las primeras obras escritas en España para clarinete, que coincidieron con la época en que la ópera italiana dominaba el panorama musical del país. Además de piezas españolas, hemos incluido las obras más características para clarinete de Rossini, junto a arreglos de Müller y Cavallini, de temas de óperas del genial compositor.

In this recording, we present some of the first compositions for clarinet from Spain, written in the period when Italian opera dominated the Spanish musical life. Along with the Spanish pieces, the CD includes the most characteristic clarinet music by Rossini and two arrengements, by Müller and Cavallini, of opera themes of this charismatic composer.

Capricho pintoresco

Joan Enric Lluna, Clarinete; Artur Pizarro, piano

HMI987022. Harmonia Mundi

Robert Casadesus (1899-1972), Sonata op.23 bis Enrique Granados (1867-1916), Fantasía sobre Goyescas Eduard Toldrá (1895-1962),Sonets (transcripción Amaz) Joaquín Turina(1882-1949), Sonata nº2 op. 82 ‘Española‘ (adaptación J.E. Lluna) Miguel Yuste (1870-1947), Capricho pintoresco y Vibraciones del alma op. 45 Año 1999 El clarinete es uno de los instrumentos más populares y con más seguidores en España. Su extenso aunque poco difundido repertorio español como instrumento solista y su tradición de intérpretes famosos nos remontan a finales del siglo XIX y se amplían notablemente en el siglo XX. Además de obras clave de Miguel Yuste, Capricho Pintoresco incluye piezas inéditas de Casadeus, así como obras maestras de Turina y Toldrá, presentadas por primera vez para clarinete y piano.

Joan Enric Lluna, clarinet; Jan Gruithuyzen, piano

DD00448, Clarinet Classics

Obras de: Joan Guinjoan, Xavier Motsaltavge, Salvador Brotons, Antonio Romero, César Cano, Julián Menéndez, Miguel Yuste

Música española para clarinete y piano (72:00)

1997

Franz Danzi. Simfonies concertants

Orquestra de Cadaqués (Sir Neville Marriner), Jaime Martín, Joan Enric Lluna, J.M. González Monteagudo, David Tomás, Martin Owen

TD001. Tritó

Simfonia concertant en Si bemoll major, per a flauta, clarinet i orquestra, opus 41 (21:32)

1. Allegro (10:41) / 2. Larghetto (4:42) / 3. Polonaise (Allegretto) (6:09)

Simfonia concertant en Mi bemoll major, per a flauta, oboè, trompa, fagot i orquestra (21:13)

4. Allegro (12:55) / 5. Andantino (2:53) / 6. Rondó (Allegretto) (5:25)

Simfonia concertant en Si bemoll major, per a clarinet, fagot i orquestra, opus 47 (14:56)

7. Allegro (6:34) / 8. Andante moderatto (2:43) / 9. Allegretto (3:57) / 10. Un poco più moto (1:42)

Franz Danzi (1763-1826). Orquestra de Cadaqués (Sir Neville Marriner); Jaime Martín, flauta; Joan Enric Lluna, clarinet; J. M. González Monteagudo, oboè; David Tomás, fagot; Martin Owen, trompa.

Ambache Chamber Orchestra and Ensemble

BBCMM45

Clara Schumann (1819-96), Konsetsatz in F minor

Fanny Mendelssohn (1805-47), Piano Trio in D minor, Op 11

Louise Farrenc (1804-75), Clarinet Trio in E flat, Op 44

Marie Grandval (1830-1907), Romance and Gavotte

This was issued to celebrate the 100th anniversary of Clara Schumann‘s death in May 1996, as the cover CD with the BBC Music Magazine. In the BBC office, a woman said “it’s the best CD we’ve done”, and it’s a nice thought. Maybe she was expressing her delight at discovering that classical music by women could be so accomplished, and so enjoyable.

Brodsky Quartet, English Chamber Orchestra (Antony Pay). Joan Enric Lluna

Cala United, CACD88010

The clarinet used in the present recording is a modern version of a bassett-clarinet.

Mozart wrote his clarinet works for his friend and brother mason Anton Stadler. He was a virtuoso of the clarinet, interested in improving and developing this instrument, still quite new in the musical world of the 18th century.Stadler and the instrument maker Theoden Lotz where probably trying to improve the low register of the clarinet and built one that had an extended range in the low register, playing a 3rd below a normal clarinet (being a ‘C’ the lowest note). This instrument has been named as the ‘basset-clarinet’.

Physically, it is an ‘A’ clarinet with an extended bottom joint. This not only allows one to play lower notes, but also by changing the proportions of the tube to change its tone quality, becoming similar to the one of the ‘basset-horn’ (an extended clarinet in ‘F’, very popular at that period and Mozart‘s favourite wind instrument).

The bassett-clarinet became obsolete afterStadler, possibly due to tuning problems, or, more likely, to being uncomfortable to play and manage (like the bassett-horn). No composer is known to have written for it again.

The 1st edition of the concerto K622 by Albert in 1801 (the original manuscript is lost) was an adaptation for an ordinary ‘A’ clarinet. There is evidence, though, that demonstrates that it was written originally for a basset-clarinet. One of them is a manuscript sketch of the 199 first bass. In this sketch he writes de solo bars for a ‘basset-horn in G’, and changes after the orchestral introduction to ‘A’. In the present recording, most of the lower passages are based on this sketch and on the reconstructed edition for bassett-clarinet by Barenreiter.

For the quintet K581 (the manuscript has also been lost) the evidence is not so strong to prove that it was written for a ‘bassett-clarinet’. We know that Stadler used the instrument in many concerts where this piece appeared. Some of the lower passages are based on arrangement of the piece for piano and strings dated from the same period. In any case, the ‘bassetty’ quality of its sound seem to be more appropriate for this music.

English Chamber Orchestra. Thomas Indermühle, oboe. Joan Enric Lluna

KV297b

AMBACHE CHAMBER ENSEMBLE

Louis Farrenc, Chamber Music, The Ambache Chamber Ensemble

Diana Ambache, piano

Sophie Langdon, violín

Martin Outram, viola

Susan Dorey, cello (Nonet)

Naomi Butterworth, cello (trio)

Lynda Houghton, double bass

Helen Keen, flute

Jeremy Polmear, oboe

Joan.Enric Lluna, clarinet

Mark Paine, horn

Brian Sewell, basson