Clarinetist Raphaël Sévère and pianist Paul Montag explain that their On Tour album, although not recorded live, consists of pieces they feel they have performed especially successfully in concert. The title could be taken another way, though, and this points to why their program holds together unusually well. All of the music (at least if one is willing to provisionally accept jazz as a folk form) is rooted in folk idioms in one way or another, and the musicians conduct a "tour" not only of the folk music of different regions but of the uses of folk traditions in 20th century concert music. The opening Dance Preludes of Lutoslawski may be worth the price of admission in themselves; performers in recent years have finally gotten past Lutoslawski's disparagement of his early Bartók-influenced pieces, and Sévère and Montag nicely catch the varying treatment of folk dances here. The Clarinet Sonata of Francis Poulenc, written for jazz clarinetist Benny Goodman and premiered by him and Leonard Bernstein on the piano in 1963, was among Poulenc's last works, and it's an elegant, underrated work. Bernstein is represented by his Clarinet Sonata of 1942, a Bartókian piece that suggests the Latin American influences to come in Bernstein's output. Bartók's Romanian Folk Dances, Sz. 56, are briskly dispatched, and another major attraction is the pair of Hungarian-flavored works by Leo Weiner, not derivative of Bartók and very rarely heard. The program closes with a two-movement work by Sévère with links to the Bernstein sonata, suggesting that the tradition of folk-based concert music is alive and well. A highly listenable clarinet-and-piano recital that is also rigorously put together.