Pearls & Thrills

Milan Milosevic – clarinet & tárogató
Jesse Read – bassoon
Cary Chow – piano

Guest instrumentalists
Ryszard Tyborowski – classical guitar
Nenad Zdjelar Keza – double bass
Zoran Kiki Caušević – percussion

CD Release of music by Béla Bartók, Jäger Vilmos, Božidar Milošević, Sid Robinovitch, Mikhail Glinka

Promo video


Perals and Thrills
“It does not get any better than this -- should be compulsory listening for all clarinetists. Milan Milosevic explores original musicianship, one that rejects fashionable style and instead explores to the very core of musical thinking, both by the composer and the performer. This level of creative understanding is, today, in a minority and should be treasured, admired and respected”.
“Pearls & Thrills music selections are simply beautiful, soulful and at times heart-rending. Milan performances are wonderful throughout the variety of expressive styles. I really enjoyed it and highly recommend.”

Program Notes

Romanian Folk Dances (Roman nepi tancok) – Béla Bartók (1881-1945), arr. Zoltán Székely/Milan Milosevic

In 1908, Béla Bartók traveled with his friend Zoltán Kodály into the Hungarian countryside, where they discovered that the prevailing Magyar folk music was not, as previously accepted, music of the Romani, or gypsies, but actually had Central Asian origins and influences. Both composers began to use their discoveries in succeeding compositions. Bartók remained throughout his life in the thrall of the folk music he had discovered in Hungary, Bulgaria and especially Romania. These short dance pieces were originally written for piano and later transcribed by Bartók for a small orchestra. Violinist Zoltán Székely transcribed them for violin and piano. They were adapted by Milan Milosevic for this recording for clarinet and tárogató (with piano), alternatively showing the relationship between the two instruments.

Tárogató Book 1 – Jäger Vilmos

Vilmos appeared as a virtuoso performer on the tárogató, and published at least two volumes of melodies, which were used as etudes for mastering the instrument. The collection includes original folk melodies and some of Vilmos' own compositions. A few of his performances were captured on 78-RPM recordings ca. 1906 and can be found on the Internet.

Girl’s Dance – Bozidar Milošević (1931-) arr. Milan Milosevic

  • Milan Milosevic – clarinet
  • Ryszard Tyborowski – classical guitar
  • Nenad Zdjelar Keza – double bass
  • Zoran Kiki Caušević – percussion

Klezmer in Granada – Sid Robinovitch (1942-) arr. Milan Milosevic

Sid Robinovitch lives in Winnipeg, Canada. He was a professor of social sciences at York University until 1977, when he turned to full-time composition and music teaching. His works are widely performed and published, and though rooted in folk and ethnic sources, he is never far from the idioms of today. He has written for film, radio and television, and his Klezmer Suite was nominated for a Juno award in 2002. Some of the music from this Suite was used in Klezmer in Granada, fusing the dark and sultry atmosphere of the tango with a sometimes tongue-in-cheek reference to the traditional itinerant band of accordion, fiddle and clarinet nearly always present at a Jewish wedding or other celebration. Klezmer music gathers songs and dances from across central Europe as well as the Near and Middle East holding an oral and musical tradition intact as Jewish culture has spread around the world.
Zoran Kiki Caušević – percussion

Trio for Clarinet, Bassoon and Piano “Pathétique” – Mikhail Glinka (1804-1857)

Je n'ai connu l'amour que par les peines qu'il cause
“I knew love only by the sorrow which it causes...” reads the touching epigram inscribed on the title page of the manuscript of Mikhail Glinka's Trio for Clarinet, Bassoon and Piano, aptly subtitled Pathétique. Glinka visited Italy for some relief against his young life of maladies, weakness and eventual hypochondria, but numerous threads of difficulty followed him. Not only is the Trio rich in sensations fear and longing, but redolent, also, of a love interest never fully divulged even to his sister, though he wrote frequently to her as she compiled his memories toward the end of his life. It is likely that the Trio was written in Glinka's youthful 28th year. It bears little relationship to his later works imbued with reflections on Russian folk idioms, the style which he eventually embraced. Rather, the Trio pours out its heart with Italian operatic sentiment, from the dramatic intensity and forceful velocity forward in the outer movements to the longing and arching bel canto melodies, fraught with romantic, tender affection, bordering on youthful anguish, in the dramatic middle movement. There is a clue mentioned in his memoires to the background of the music: while in the Lake District of Italy, the young Glinka became enamoured of his doctor’s married daughter to whom he dedicated his Gran Sestetto. Glinka mentions that there were suspicions and he was obliged to rededicate the work to her sister and suspend his frequent visits due to the ensuing gossip. The “Trio Pathétique” cries out from the tormented heart and rushes at the end to a resolution, an uncomfortable but decisive acceptance, with some sense of relief, and perhaps, abandon. When Glinka played through the recently completed work with two friends from the La Scala orchestra, the clarinetist, Tassistro, exclaimed, "Ah, but that is desperation."


  • Roy Barnett Recital Hall & Studio – School of Music, The University of British Columbia
  • Music production: Milan Milosevic
  • Recording production: David Simpson
  • Assistant recording engineer: Alexander Korchev
  • Percussion recording production: Predrag Milanović (Studio Mediterrania)
  • “Girl’s Dance”: Michael Daher/David Simpson (UBC/Studio Goodfellas Productions)
  • Notes: Jesse Read/Rapti Dietrich
  • Photo: Jesse Read/Dejan Sinadinović
  • Design: Dejan Sinadinović/David Simpson
  • Sponsored by Backun Musical Services and Légère Reeds Ltd. | © 2017 Milan Milosevic

Making music

Photo: J. Read