“Violinist Peter Clark wears his delight in the music on his sleeve, swooning over phrases, ending others with extravagant flourishes, frequently smiling encouragement and approval to his colleagues, who, relaxed and confident in their playing, were happy to respond.”
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…A particularly fascinating feature of this concert was the fact that the basset clarinet van Bruggen used for the Mozart work is an exact copy of the basset clarinet built by Theodore Lotz for Anton Stadler. Both van Bruggen’s clarinets were made specifically for her in Paris by renowned atelier, Agnes Gueroult.
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The concert commenced with the Hummel Clarinet Quartet in E Flat Major S, 78 which van Bruggen, performed on her 1810 B flat clarinet, together with Clark, Oswell and Yeadon.
This set the tone for the evening because apart from the stunning musicianship on display this work turned into a delightful musical conversation between the four instrumentalists.
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Perhaps the most interesting movement in this quartet is the second, La Seccatura, because, as van Bruggen points out in her program notes, the parts for each instrument are written in different time signatures, hence the translation of the title as The Nuisance.
This effect was difficult to discern but fun to listen out for. The musicians however seemed to have the most fun with the final movement, Rondo (Allegretto), which was peppered with cheeky pauses and happy flourishes, the sound so superbly balanced that it was difficult to discern which instrument was which as the musicians challenged each other with virtuosic runs providing a real treat for the eyes as well as the ears.
Van Bruggen then left the stage to the three strings, Clark, Oswell and Yeadon, who offered a superb account of the Schubert String Trio in B Flat major, D.471, notable for the delicate phrasing and again, the playful interaction of the three musicians.
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Mozart’s fascination with the instrument becomes clear in the series of duets and trios he provides in the various sections which explore the range and unique characteristics of the instrument and reveal how well it blends with the strings.
In the final Allegretto section he includes a series of thrilling virtuoso embellishments. These provided van Bruggen with the opportunity to display her brilliant technique and mastery of her instrument, as well as provide an exciting conclusion to a superb concert.
Bill Stevens OAM, Australian Arts Review (21 March 2023)
Image: Hikari Photography