SHELLEY LEVY: CLARINET & CLELIA IRUZUN: PIANO
Fountainhall at the Cross Church
Monday 14th October 2024 7.30 pm
PROGRAMME:
Norbert Burgmüller (1810 – 1836)
Duo in E flat, Op. 15
Eugène Bozza (1928 – 1991)
Idylle
Claribel
Hans Gál (1890 – 1987)
Sonata for Clarinet and Piano, Op. 84
1. Allegro Moderato 2. Andantino 3.Adagio – Allegro con spirito
INTERVAL
Johannes Brahms (1833 – 1897)
Sonata for Clarinet and Piano, Op.120, No.1
1. Allegro appassionato 2. Andante un poco adagio 3. Allegretto grazioso 4. Vivace
Sarah Feigin (1828 – 2011)
Fantasia for Clarinet and Piano (1996)
Francis Poulenc (1899 – 1962)
Sonata for Clarinet and Piano
1. Allegro tristamente 2. Romanza 3. Allegro con fuoco
ENCORE
Eugène Bozza
Aria for Clarinet and Piano
REVIEW:
Since the opening concert of our new season, 2024/25 on the 16th September had to be postponed, owing to illness of performer, pianist Nikita Lukinov, it was Monday’s performance by clarinettist Shelley Levy with pianist Clelia Iruzun that launched our new season. An absolutely spectacular launch event it proved to be! There will still be seven concerts in the current season, because Nikita Lukinov will now give his concert on the 31st March, 2025.
Shelley and Clelia gave us a marvellously wide ranging programme with performances of the finest and most thoroughly appealing quality. After the concert, one audience member said to me that he was particularly delighted to make an acquaintance with at least four composers who were new to him and whose music turned out to be absolutely delightful.
The first of these discoveries would probably have been Norbert Burgmüller whose piece Duo in E flat for clarinet and piano opened Monday’s programme. Actually he was new to me as well although the name Burgmüller was not. I was familiar with the easy piano studies of Friedrich Franz Burgmüller. I still have these in a book somewhere in the house. Norbert Burgmüller was the younger brother of Friedrich and since I only know the piano studies of the older brother, Norbert’s music for clarinet and piano which we heard today was far more interesting and appealing. Absolutely delightful actually, and far more challenging for both clarinet and piano. Monday’s performance by Shelley and Clelia established the premier quality of playing by both performers. The Duo in E Flat opened with a rippling piano part, then Shelley entered with deliciously sweeping clarinet melody. This she delivered with her full body driving the music forward. The piano had virtuosic runs while the clarinet, if I may borrow a phrase flew forward ‘on wings of song’ so expressive was Shelley’s playing.
I had come across Eugène Bozza before, but Idylle and Claribel were new to me. The first of the two pieces Idylle, had light and gentle piano playing and dreamy floating clarinet. This was an elegant and well controlled performance. Claribel had strong piano chords and restless swaying clarinet. The piano was busy, then we enjoyed a rather splendid clarinet cadenza passage which was really exciting. Eventually the music seized the spirit of dance in a delightful way.
The first of three Clarinet Sonatas by better known composers was by Hans Gál who should be familiar to regular members of Chamber Music Concerts audiences. The opening movement Allegro Moderato had a freshness and vitality with more than a touch of good humour. I enjoyed watching Clelia’s fingers dancing lightly over the piano keyboard. The second movement had, I thought, a teasing jollity to it with a seductive melody. The Adagio of the third movement was thoughtful before the Allegro con spirito embraced the full spirit of the dance. The music for clarinet and piano were not easy to hold together towards the end but Shelley and Clelia matched one another to perfection.
After the interval, it was the turn of Johannes Brahms to show what he could do bringing clarinet and piano together. The opening movement of his Sonata for Clarinet and Piano, Op. 120 No. 1 in f minor opened with dramatic piano chords to which the clarinet responded with forceful but beautifully well controlled playing. There were moments of fire and energy but gentleness too. The playing of both performers was splendidly emphatic.
The second movement was strongly expressive before a light slightly playful dance-like third movement. The finale marked Vivace swept forward with real drive. There were more gentle sections and towards the end, the piano delivered real passion.
Sarah Feigin was completely new to me. Originally from Latvia she worked for most of her musical life in Israel. Her Fantasia for Clarinet and Piano (1996) had a definite twentieth century feel in its harmonies, yet it was wholly tonal and totally attractive. I thought the lively dance-like section had more than a touch of Israeli folk dance to it, and yes, I liked that!
The final piece in the official programme was another Sonata for Clarinet and Piano this time by Francis Poulenc. The opening movement Allegro tristamente had that special sense of mysteriousness in both harmony and melodic line that often marks Poulenc’s music. In the second movement Romanza the sense of conversation as well as blending between piano and clarinet was splendidly well done. In the finale which was fresh and good humoured there was marvellously biting playing from the clarinet which I absolutely loved.
Shelley and Clelia received a rousing ovation from the audience to which they responded with another piece by Bozza, his Aria. A splendid conclusion to a generous and absolutely brilliant evening of music for clarinet and piano, so wide ranging, and so gloriously well performed.
ALAN COOPER