Brahms: The Hungarian Connection Andreas Ottensamer

• Johannes Brahms (1833-1897): Quintet for Clarinet, Two Violins, Viola and Violoncello in B minor op. 115 h-moll · en si mineur:
• 11. Allegro13:02
• 22. Adagio11:43
• 33. Andantino - Presto non assai, ma con sentimento04:52
• 44. Con moto10:19
• Waltz op. 39 no. 15 Waltz no. 6 from Liebeslieder op. 52: “Ein kleiner, hübscher Vogel”:
• 5Two Waltzes in A Major, Op.39, No.15 & Op.52, No.602:53
• Eduard Remeny (1828–1898 / Johannes Brahms: F-dur · en fa majeur:
• 6Hungarian Dance No. 7, WoO 102:13
• Miska Brozo (1800–1864) / Johannes Brahms: g-moll · en sol mineur:
• 7Hungarian Dance No. 1 (Isteni Csárdás), WoO 105:30
• Leo Weiner (1885–1960): Two Movements · Zwei Sätze · Deux Mouvements:
• 81. Búsulójuhász (Woeful Shepherd, Der traurige Hirt · Le Triste Berger)02:27
• 92. Csűrdöngölő (Székely Barndance · Székler Tanz · Danse sicule)02:03
• Traditional:
• 10Dances From Transylvania06:47
• Total Runtime01:01:49

Info for Brahms: The Hungarian Connection

The album includes Brahms’ Clarinet Quintet, one of the most seminal works for the instrument – combined with Hungarian dances and waltzes by Brahms, all newly arranged to include additional material from Brahms' original musical sources, with an authentic folk twist.

Brahms is seen as one of the most serious composers of the German school – this bold venture reveals how closely connected his music actually is to the vibrant folk music inspired Hungarian music world. Andreas Ottensamer, himself half-Hungarian, naturally recognizes Brahms’ Clarinet Quintet as “genuinely one of the monuments of the entire clarinet repertoire, a piece that every clarinettist dreams of playing”.

Andreas Ottensamer, clarinet
Leonidas Kavakos, violin
Antoine Tamestit, viola
Christoph Koncz, violin, cello
Stephan Koncz, violin, cello
Ödon Rácz, double bass
Predrag Tomic, accordion
Oskar Ökrös, cimbalom

Andreas Ottensamer
has captured audiences and critics alike with the singular beauty of tone that he coaxes from the instrument. At one stage he studied the cello, which perhaps has helped to imbue his approach to the clarinet with a soulful depth. His Viennese instrument, with a wider bore than the closely related German-system clarinet, produces a particularly dark, expansive and warm tone, which he exploits to full advantage.

Born in 1989, Ottensamer comes from an Austro-Hungarian family of musicians and was drawn to music early, receiving his first piano lessons when he was four. At the age of ten he began studying cello in his home town at the University of Music and Performing Arts Vienna, then changed to the clarinet under Johann Hindler in 2003.

Andreas Ottensamer gained his first orchestral experience as a deputy in the orchestra of the Vienna State Opera and the Vienna Philharmonic and as a member of the Gustav Mahler Jugendorchester. In 2009 he interrupted his Harvard studies to become a scholar of the Orchestra Academy of the Berliner Philharmoniker.

As principal clarinettist he has played with the Deutsches Symphonie-Orchester Berlin from July 2010 to February 2011 and with the Berliner Philharmoniker.

Ottensamer has won first prize in competitions for clarinet, cello and piano, and performs as a soloist and chamber musician throughout the world in venues such as Musikverein Wien, Konzerthaus Wien, Brucknerhaus Linz, Musikverein Graz, Philharmonie Berlin, Tempodrom Berlin, De Doelen Rotterdam, and Seoul Arts Center. His artistic partnerships include work with Murray Perahia, Leif Ove Andsnes, Leonidas Kavakos, Janine Jansen, Clemens Hagen and Yo-Yo Ma. In 2005 Andreas Ottensamer founded the clarinet trio The Clarinotts with his father Ernst and brother Daniel, both solo clarinettists in the orchestra of the Vienna State Opera and the Vienna Philharmonic. Several works have been dedicated to the ensemble.

In February 2013 Andreas Ottensamer entered an exclusive recording partnership with Deutsche Grammophon/Mercury Classics, making him the first ever solo clarinettist to sign an exclusive agreement with the Yellow Label. His first album, Portraits – The Clarinet Album, will be released in the summer and features concertos by Copland, Spohr and Cimarosa, plus arrangements of short pieces. His partners are the Rotterdam Philharmonic Orchestra under Yannick Nézet-Séguin.

He said of the recording: “This album poses the challenge of jumping between different styles and ways of playing, but at the same time I set a high priority on maintaining my personal interpretation and sound.”

For a man who is so dedicated to music, Andreas Ottensamer is also passionate about sport. For many years he was a tennis tournament player, and together with his brother he founded his own football club, the Wiener Virtuosen, in 2007. The team plays successfully in the Wiener DSG league and Ottensamer still travels to Vienna for matches whenever his schedule permits.

In 2013 this schedule includes performances of the Busoni Clarinet Concertino and Copland Clarinet Concerto at the Seoul Arts Center in Korea (March), concerts with the Brahms Ensemble Berlin in Baden-Baden and Japan and appearances with his own Clarinotts at the Musikverein in Vienna (April). In May he undertakes a Japanese tour, playing repertoire from his debut album – including performances as a soloist with the Nagoya Philharmonic Orchestra – and giving masterclasses in Tokyo and other cities.

Apart from his extensive activities within the world of classical music, Andreas Ottensamer has widened his horizon to other musical fields, resulting in a collaboration and recording with Tori Amos on her album Night of Hunters.

The beauty of tone and distinct musicality over a wide range of styles have won extensive critical plaudits for Andreas Ottensamer. Sybill Mahlke wrote in Der Tagesspiegel of his “limitless dynamic range . . . he plays with a vitality that pushes boundaries.” NRC Handelsblad said: “Andreas Ottensamer melts with his clarinet . . . he is an ‘übersolist’ and a phenomenon.” Rebecca Schmid wrote for MusicalAmerica.com: “Solo clarinettist Andreas Ottensamer played with particular finesse . . . and a touch of melancholy.”

Booklet for Brahms: The Hungarian Connection