CLARINET QUINTETS & MORE

Britten planned these movements as part of a five-movement Quartetto serioso with a subtitle from Shakespeare’s Winter’s Tale: “Go play, boy, play!” An earlier version of the opening March was written for a suite inspired by the film Emil and the Detectives (the children’s novel by Erich Kästner was a great favourite of Britten’s), but this was never completed. Eventually he settled on a work in three movements, and the first performance was given by the Stratton Quartet at the Wigmore Hall on 25 February 1936. The audience response was chilly and a hurt Britten withdrew the Three Divertimenti, which were only published after his death. His brilliant gift for idiomatic quartet writing is already apparent in this early work – from the arresting rhythms and textures of the March to the beguiling central Waltz, and the driving energy of the closing Burlesque.

© Nigel Simeone

Allegro energico
Larghetto affettuoso
Scherzo. Allegro leggiero
Finale. Allegro agitato – Poco più moderato – Vivace

Samuel Coleridge-Taylor was born in London and entered to Royal College of Music in 1890 to study the violin. His ability as a composer soon became apparent, and he studied composition with Stanford, becoming one of his favourite pupils. His Piano Quintet Op.1 (1893) heralded the arrival of a remarkable talent, but the Clarinet Quintet, composed in 1895, demonstrates Coleridge-Taylor at the height of his creative powers. Stanford had given his students a challenge, declaring that after Brahms’s Clarinet Quintet, written in 1891, nobody would be able to escape its influence. Coleridge-Taylor couldn’t resist trying, and when Stanford saw the result he is said to have exclaimed ‘you’ve done it!’ Coleridge-Taylor took his influences not from Brahms but from another great contemporary composer: in places this work sounds like the clarinet quintet that Dvořák never wrote. That’s a mark of Coleridge-Taylor’s wonderfully fluent and assured writing. The sonata form first movement is both confident and complex, with the clarinet forming part of an intricately-woven ensemble texture. The Larghetto has a free, rhapsodic character, dominated by a haunting main theme. The Scherzo delights in rhythmic tricks while the central Trio section is more lyrical. The opening theme of the finale governs much of what follows until a recollection of the slow movement gives way to an animated coda. The first performance took place at the Royal College of Music on 10 July 1895, with George Anderson playing the clarinet. Afterwards, Stanford wrote to the great violinist Joseph Joachim describing the piece as ‘the most remarkable thing in the younger generation that I have seen.’

Allegro ma non troppo
Lento
Molto vivace
Finale. Vivace ma non troppo

Dvořák was teaching in New York in 1893, and for his summer holiday he travelled over a thousand miles westwards, to the village of Spillville in Iowa, set in the valley of the Turkey River. It had been colonized by Czechs in the 1850s and in these congenial surroundings Dvořák quickly wrote the String Quartet in F major. On the last page of the manuscript draft, he wrote: ‘Finished on 10 June 1893, Spillville. I’m satisfied. Thanks be to God. It went quickly.’

Coming immediately after the ‘New World’ Symphony (which was to have its triumphant première in New York later in the year), the quartet has a mood that suggests something of his contentment in Spillville. Dvořák’s assistant Josef Kovařík recalled the composer’s routine: walks, composing, playing the organ for Mass and talking to locals, observing that he ‘scarcely ever talked about music and I think that was one of the reasons why he felt so happy there.’

Just how ‘American’ is the quartet? While remaining completely true to himself, Dvořák admitted that ‘as for my … F major String Quartet and the Quintet (composed here in Spillville) – I should never have written these works the way I did if I hadn’t seen America’. The first performance was given in Boston on New Year’s Day 1894 by the Kneisel Quartet.

© Nigel Simeone