Selby & Friends | Jewels in the Crown
July 14, 2024, Turramurra Uniting Church, NSW
An Antarctic blast did not prevent a full house for the latest in the Selby & Friends series of concerts with its enticing programme clearly a factor.
Clarinettist Lloyd Van’t Hoff gave us an extensive introduction to Brahms’ second clarinet Sonata emphasising that it was the composer’s meeting with clarinettist Richard Mühlfeld which inspired him to return from his premature retirement. Lloyd is Head of Woodwind at Adelaide’s Elder Conservatorium and has played and taught with orchestras in the USA, Canada Sweden and Switzerland. The sonata is unusual in that it doesn’t have a slow movement although the Trio section of the second movement is meditative. The final Allegro is fairly revolutionary with time changes and discords which even a younger Brahms would have fallen shy of. One has to thank Mühlfeld for re-alighting Brahms’ enthusiasm.
Kathryn herself gave us some background to Bela Bartok’s compositions and to how he attempted to mould Western and Eastern European motifs. The Six Romanian Dances were written originally for piano and Bartok, having researched folk tunes with the help of Zoltán Kodály, knew the music well as I play it myself (or try to!). It is quite striking that the version for clarinet, violin and piano emphasises the emotions of the music even where some of the notes are actually altered, Kathryn pointed out that the very slow third piece in the highest register seems to mimic a peasant beginner on the accordion! It was more than twenty years later that the contrasts Sz111 were written, by which time Bartok was resident in the USA and had made the acquaintance of Benny Goodman who clearly exerted a jazz influence – although he was no stranger to classical music and in fact increased the playing range of the clarinet. The three pieces were certainly contrasting in rhythm and Benny’s influence was striking, with forceful rhythms, clarinet cadenzas, and even causing Kathryn to lift off her stool.
The programme, which for the first half of the performance contrasts with Benny Goodman’s playing, has in the second part Beethoven’s Kreutzer sonata as Natalie Chee explained to us. I have already sung Natalie’s praises but she is also a very practiced orator who gave a fascinating insight into the history of the work. Beethoven originally dedicated the work to George Bridgetower, a virtuoso violinist of Afro-American heritage. The first performance was at 8.00 am and poor George had to sight-read the majority which as any violinist will tell you is a Herculean task. Ludwig was very pleased with the performance, however he then rowed with George after a few wines and transferred the dedication to another violinist, Rodolphe Kreutzer who disliked Beethoven, hated the work and never played it!
I don’t think anyone would refuse such an honour today – the work is nothing short of astounding, breaking all existing barriers. From the slow introduction to the sliding arpeggios of the first movement, to the serene slow movement, it demands attention and appreciation.
Beautifully rendered by the duo of course – a great afternoon’s listening.