Clarinet, viola and pianoforte were on the menu at yesterday's lunchtime concert in Marama Hall.
Music for this instrumental combination by Mozart and Max Bruch was performed by Peter Adams and John Van Buskirk with viola player Andrew Filmer (Malaysia).
Filmer has published on the subject of "Scordatura", a technique where string instruments are tuned to a different pitch from the normal, producing a brighter tone to "match" that of the violin.
This was a popular practice in the Baroque period and also favoured by Mozart, a viola-player.
Yesterday's Trio in E flat Major for Piano, Clarinet and Viola "Kegelstatt Trio", K. 498 (1786), by Mozart viola with "normal" tuning, was a stylistically satisfying performance.
It was beautifully expressive, with thoughtful dynamics, and the last movement, Rondeaux-allegretto, a real highlight, as the theme persisted with a touch of humorous resignation at each return.
The second work comprised four of Eight Pieces for Clarinet, Viola and Piano, Op 83 (1910), by Max Bruch.
Talking with others afterwards, all wished we could have listened to the entire eight of these contrasting pieces of Romantic beauty.
No 1 opened with deeper passionate shades in a minor key; No 5 Rumananische Melodie-Andante, featured captivating gypsy melody; No 7 was bright, perky and humorous, but my favourite was No 2 Allegro con moto in B minor, with its sense of urgency and forward movement maintained by the viola and clarinet over busy pianoforte textures.
Chamber music performed with such obvious devotion is indeed a joy for the listeners.
- Elizabeth Bouman
