Albert
Hall, Canberra, March 15th 2023.
Reviewed by
BILL STEPHENS
The stately
gold-trimmed red velvet drapery of the Albert Hall provided the perfect ambiance
for this exquisite concert; the first in the 2023 season being presented by the
Australian Romantic & Classical Orchestra.
The musicians performed on a raised stage set midway along the hall
partially surrounded by the audience seated in a semicircle approximating
the intimacy of a 19th century salon.
Since it was
established 10 years ago, under the artistic directorship of the late Richard
Gill, the Australian Romantic & Classical Orchestra has built a strong
following among classical music buffs for its historically informed
performances performed on historical instruments.
In the late 1700’s,
the clarinet was considered a new instrument, and the musical cognoscenti of
Vienna was enthralled by its sound. Mozart was so fascinated by the sound of
the basset clarinet played by virtuoso, Anton Stadler, that in 1788, he
composed his “Clarinet Quintet in A Major” specifically for this instrument.
Mozart’s
protégé and former pupil, Johann Nepomuk Hummel, a celebrated musician and
composer in his own right, composed his own Clarinet Quartet in 1808. Both these compositions were featured in the scintillating
program offered by the Australian Romantic & Classical Orchestra.
All members
of the Australian Romantic & Classical Orchestra, the quintet consists of Co-Artistic
Director and clarinet virtuoso, Nicole van Bruggen on her copies of the 1810
Lotz B flat clarinet and 1790 Lotz Basset clarinet in A; Peter Clark replacing
Rachael Beesley at late notice, on his 1820 Lorenzo Ventapane violin; Julia
Russoniello (1850 Jules Grandjon violin); Simon Oswell (1740 Gaspare Lorenzini viola)
and Daniel Yeadon (1781 William Forster 11 cello).
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.
 |
| Simon Oswell (Viola) - Peter Clark (violin) - Daniel Yeadon (cello) - Nicole van Bruggen (clarinet) |
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.
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. This joy transmitted to the audience who happily smiled back
as they relaxed into the music.
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.
 |
| Peter Clark (violin) - Simon Oswell (viola) - Daniel Yeadon (cello) - Nicole van Bruggen (clarinet) |
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
 |
| Peter Clark - Julia Russoniello- Daniel Yeardon - Nicole van Brugen - Simon Oswell |
After a
short interval Clark, Oswell and Yeadon were joined by violinist, Julia
Russoniello and van Bruggen, this time with her basset clarinet, for the major
work of the evening, Mozart’s “Clarinet Quintet in A Major, K.581”. It was during
this showcase work that the beautiful tone of the basset clarinet could be
fully appreciated. .
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.
Images by Hikari Photography
This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au
.