“Rapturous applause for Australian Romantic & Classical Orchestra”
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The concert opened with the very piece for which Nicole van Bruggen and Rachael Beesley had won a prize: the Clarinet Quartet in E flat major, by Johann Nepomuk Hummel. This composer was aware of the rising popularity of the clarinet, and, being commercially enterprising, he wrote this cheerful chamber work in 1808. This was not a piece for solo clarinet with string accompaniment, but a quartet, where all the instruments were equally integrated.
Peter Clark, first violinist, replacing Rachael Beesley, (who had to withdraw from this concert for family reasons) attacked the music with joyful exuberance. This enthusiasm was shared by the other members in friendly rapport. Peter Clark almost leapt up whilst playing while Simon Oswald tickled his viola, Daniel Yeadon stroked his cello and Nicole van Bruggen responded mellifluously with her clarinet.
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There were lovely moments when Simon Oswell introduced a theme on viola, which was then imitated by the clarinet and violin. The overall feeling was of warmth and cheerfulness, enhanced by the use of historically informed instruments and performance.
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When Mozart wrote this Quintet in 1789, the clarinet was just being recognised for its expressive possibilities and beauty of tone. He wrote it for his friend, Anton Stadler, a clarinet virtuoso who, with Theodor Lotz, developed the basset clarinet, extending the range down by four chromatic notes. This is the instrument Nicole played so superbly, as it was the instrument Mozart had intended. The extra low notes added an extra richness to the sound.
There was again this special rapport between the players, which felt like a conversation. In the opening the strings’ melodies descended, while the clarinet soared in response. Mozart swapped motives between the instruments, making them all equal partners in conversation.The second movement was particularly serene when Nicole used the lower notes of her basset clarinet. Throughout this Quintet she played expressively with expertise, like the virtuoso (Anton Stadler) it was written for. The music became increasingly cheerful towards the end. This innovative work was like an old friend to me, but this time the friend was historically informed.
Heidi Hereth, classikON (March 22 2023)
Image: Teniola Komolafe