critique

Nicolai Pfeffer is not only a very good clarinetist, but he is above all a complete musician. Making music is his way of thinking, maybe even of being. For example, it deals with the reading of a score, reconsidering its writing, revision, interpretation, and compares it with the manuscript, the first and subsequent editions, to establish a version that is as close as possible to the composer's intentions. For hours you would listen to Pfeffer sing the long, indefinite, endless melody that attacks the Adagio of the concert. And how much of the restless, the unresolved, the provisional can be told in the effervescence of the final Rondò. Representation of the unsolved, of course, not irresoluteness of music, which is indeed among the most definitely resolved music that has ever been composed.