MOZART, BRUCH & MORE

Andante
Menuetto
Rondo. Allegretto

This is Mozart’s only trio for his three favourite instruments: clarinet, viola and piano. The nickname ‘Kegelstatt’ means ‘skittle alley’, and legend has it that Mozart wrote the work during a game of skittles. This may be far-fetched, especially given the rather noble character of the music, but what is certain is that he wrote the trio in Vienna, and entered it in his own thematic catalogue on 5 August 1786. The first movement is a marvellous example of Mozart’s invention at its most concentrated and unforced: every element in this sonata-form movement derives from the ornamental turn that is such a distinctive feature of the opening. The Minuet surprises by its almost grand character – no mere courtly dance, but something more imposing – and this is followed by an unhurried Rondo that brings this radiant work to a lyrical conclusion.

© Nigel Simeone

Lebhaft, nicht zu schnell
Lebhaft und sehr markiert
Ruhiges Tempo, mit zartem Ausdruck
Lebhaft, sehr markiert

Schumann wrote his Märchenerzählungen (‘Fairy Tales’) for the unusual combination of clarinet, viola and piano in October 1853. Whether he chose these instruments with Mozart’s ‘Kegelstatt’ Trio in mind is uncertain, though it was the only other significant work for that particular ensemble. The pieces are haunting and enigmatic: if these miniatures were intended to depict particular stories, Schumann never said. Soon after finishing Märchenerzälungen he had a catastrophic breakdown and spent the last years of his life in an asylum. The pieces are dedicated to Albert Dietrich, who studied with Schumann and was a friend of Brahms. All three collaborated on the F-A-E Sonata for Joseph Joachim.

© Nigel Simeone 2015

Vivo 
Molto semplice piano e legato 
Feroce agitato 
Calmo scorrevole 
Presto 
Adagio poco andante  

Kurtág scored his Hommage à R. Sch. for the same instrumental combination as Schumann’s Märchenerzählungen, Op. 132, completing the work in 1990. Each of the movements has a subtitle, and most of them refer to the imaginary characters that were such a significant spur to Schumann’s imagination. The first – whimsical and capricious – is headed ‘Kapellmeister Johannes Kreisler’s Curious Pirouettes’, a reference to E.T.A. Hoffmann’s character who inspired Kreisleriana. Next is a quiet canon subtitled ‘Eusebius: the delimited circle’, alluding to the introspective Eusebius figure in Schumann’s own writings. After this comes ‘Florestan’s lips tremble in anguish once more’, evoking Florestan, Eusebius’s outgoing counterpart. The fourth movement has a subtitle in Hungarian which translates as ‘I was a cloud, now the sun is shining’, a quotation from a poem by Attila Jószef (1905–1937). It is followed by ‘In the Night’, an urgent and restless night piece. The sixth movement is much the longest, subtitled ‘Meister Raro discovers Guillaume de Machaut’. Raro was the moderating influence in Schumann’s imaginary brotherhood, between the extremes of Florestan and Eusebius. Here the music resembles a solemn processional recalling both the Medieval spirit and technical procedures of Machaut.   

© Nigel Simeone, 2022 

After studies at the Royal College of Music (where her teachers included Stanford for composition and Lionel Tertis for the viola), Rebecca Clarke began her career as a viola player in Sir Henry Wood’s Queen’s Hall Orchestra, one of London’s first female professional orchestral players. After moving to the United States, Clarke completed her best-known work, the Sonata for Viola and Piano, in 1919. It tied for first place (with a piece by Ernest Bloch) in a composition prize offered by Elizabeth Sprague Coolidge and Clarke followed this with a Piano Trio in 1921. Coolidge commissioned Clarke’s Rhapsody for Cello and Piano in 1923. After returning to London in 1924, Clarke became a busy chamber music performer with less time to devote to composition. When war broke out in 1939, Clarke was in the United States visiting her brothers, one of whom was Hans Clarke, a distinguished biochemist. With the war at its height, she could not return to Britain and in the end she settled in New York. There, by chance, she met James Friskin, a pianist and composer she had known in their student days. They married in 1944 and Clarke stopped composing.

The Prelude, Allegro and Pastorale is one of her last works, written in 1941. It was dedicated to Clarke’s brother Hans and his wife Fietzchen. In an interview in 1978, Rebecca Clarke described the Prelude, Allegro and Pastorale as ‘very simple’ and admitted that she didn’t offer it to any publishers: it ‘came at a time when I was just not bothering about showing things to publishers.’ This was partly due to modesty, but it also reveals something of the obstacles Clarke had to overcome in order to achieve the recognition she deserved (it was eventually published in 2000). Writing for clarinet and viola without piano accompaniment was clearly a challenge Clarke relished and the ingenuity of the dialogue between the two instruments is testimony to her inventiveness and skill. The work is in three sections: the quiet sobriety of Prelude (marked Andante semplice) leads to an angular Allegro vigoroso followed by a rather melancholy Pastorale, marked Poco lento. The quality of the musical ideas here reveals a composer of real character whose career had been blighted by discouragement and depressive illness.

© Nigel Simone 2018

Bruch composed these pieces in 1908 for his son, Max Felix, who was a clarinettist. Three of the pieces were originally written with an additional harp part, but by the time the work was published in 1910, Bruch had settled on a trio of clarinet, viola and piano. Discussing publication with Simrock in February 1910, Bruch wrote that the pieces had been ‘met with great approval where they were played from the manuscript’ and it’s easy to see why. Bruch always intended separate performances of individual pieces (indeed, he advised against playing all of them together), and selections can be used to make an effective suite.

© Nigel Simeone