BBC Music Magazine - - Concerto Reviews -

Bruch: Dou­ble Con­certo;

Finzi: Clar­inet Con­certo;

Mozart: Clar­inet Con­certo

Roe­land Hen­drikx (clar­inet);

London Phil­har­monic Orches­tra/ Mar­tyn Brab­bins

Evil Pen­guin EPRC 0026 73:38 mins Roe­land ★en­drikx of­fers this tri­umvi­rate of clar­inet con­cer­tos in mem­ory of his late men­tor Dame Thea King (1925-2007). ‘Ded­i­ca­tions’ also al­ludes to the fact that most large-scale clar­inet pieces came into be­ing thanks to en­ter­pris­ing com­posers and com­mis­sion­ers: the Finzi con­certo, which opens the col­lec­tion, was writ­ten in 1948 for King’s teacher and hus­band Fred­er­ick ‘Jack’ Thurston. (★en­drikx, a pas­sion­ate sup­porter of the work, has in­her­ited the cor­re­spon­dence be­tween Thurston and Finzi, and in­cludes ex­tracts in the book­let notes.) ★en­drikx cap­tures its con­trast­ing moods with clar­ity, and, par­tic­u­larly in the Ada­gio, beauty. De­spite the Bel­gian clar­inet­tist’s con­cern for Finzi sup­port in the UK, the work has en­joyed sev­eral suc­cess­ful record­ings in re­cent years, such as that by Sarah Wil­liamson (Somm), and by Michael Collins (Chan­dos).

★en­drikx takes Mozart’s ever­green Con­certo at a rather leisurely pace. This res­trained ap­proach works sur­pris­ingly well, par­tic­u­larly in the ca­denza-like sec­tion of the Al­le­gro. The London Phil­har­monic Orches­tra sounds glo­ri­ous un­der Mar­tyn Brab­bins, its wood­wind sec­tion finds fragility be­neath Mozart’s cheer­ful­ness.

Vi­ola player San­der Geerts joins ★en­drikx for the con­clud­ing – and com­pact – Bruch Dou­ble Con­certo, a pas­toral piece un­der­pinned by nos­tal­gia. Both soloists neatly han­dle the ex­tended cantabile in­ter­play that fea­tures through­out. Claire Jack­son



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