Widmann puts a novel sheen on Mozart’s over-familiar classic

When Mozart wrote his clarinet concerto, little did he know it would become one of the most popular works in the classical repertoire.

Although it is riveted in the hearts of music fans, there lies an inherent danger of over-familiarity.

One is on the constant lookout for novel interpretations, and I think I found one at the R S N O ’s mo s t recent streaming.

Step forward Widmann.

Not only did he lead the orchestra, he created a solo performance that singled him out of a crowd of other players I’ve heard.

His tone was one of the most rounded you’ll ever experience, but it was in the slow movement – taken at a slower pace

Jo r g than normal – that he really came to prominence.

Touches of rubato here and there were deliciously timed and throughout the whole performance he emphasised the beauty of the piece.

The work needs no introduction but Widmann simply laid a few more layers of sheen to an undoubted classic.

The follow- up was a piece of Widmann’s own, a Fa n t a s i e for solo clarinet.

T h is was eccentric, virtuosic and an exercise in clarinetic gymnastics designed for effect. And effect he got, as there wasn’t anything in the performance that didn’t make you sit up and take notice.

If melody was snatched upon, no sooner had you settled down to that then some mus ica l pyrotechnics burst on the scene. Quite fantastic.

We needed something to settle the nerves and Widmann and the RSNO duly obliged with an excellent performance of Me n d e l s s o h n ’ s fifth symphony.

The RSNO ’s performance was frustrating – frustrating to the point that you wished you were there in person to witness this superb performance.

One day, hopefully, things will return to being live again but up to then we can be grateful for the high quality of their streamings, both in performance and presentation. To catch this go to rsno.org.uk

We needed to settle the nerves