The basset-horn is described in music dictionaries as both a tenor and alto clarinet, but whatever the description, it sounds like a clarinet and has a range a major third lower than the conventional instrument. Mozart had a thing for its slightly mellower timbre and deeper range, and he wrote for it on many occasions, from the lighter divertimentos (three of which are performed on this program) and parts in the operas Die Zauberflöte and La Clemenza di Tito to a prominent role in the darker and weightier Requiem. It’s even argued today with reasonable certainty that his Concerto in A for clarinet and his Quintet K. 581 actually were written for basset-horn. Mozart’s inspiration for these works apparently came from the clarinet/basset-horn virtuoso Anton Stadler, a fellow Freemason for whom the composer created his more challenging solo parts; however, his fondness for the instrument also resulted in some very lovely music for three basset-horns in the set of divertimentos K. 229.
These pieces not only feature an abundance of very attractive melodies and nifty harmonic and rhythmic touches that only a genius of Mozart’s caliber could toss into even such inconsequential works, but also reveal the composer’s total mastery of the idiomatic nature of the instrument. (Although I’ve played at least two of these divertimentos in arrangements for strings, the unique charm and timbral qualities of the originals can’t be denied!) The program includes pieces by Stadler himself, and although they’re predictable and very much of their time, they do succeed as pleasant entertainments that amply display the warm, complementary tonal qualities and technical capabilities of multiple clarinets (Duettino No. 4) or basset-horns (Five terzetti).
Such a program of light music for identical instruments might not hold up for 71 minutes–except for the highly accomplished contributions of the three players featured here. Throughout they imbue their music with a wide range of shadings and colors and dramatic expressive effects, all the while exploiting their instruments’ unique qualities of reedy resonance and mellow, woody warmth. And there really is some first rate Mozart here, evidenced in the Larghetto of the Divertimento No. 2 and the Adagio of No. 4, the latter as lovely a tune as you’ll hear in all of the master’s output. The sound places these players and their instruments up close, but not uncomfortably personal. We hear individual detail but also can appreciate the ensemble blend in the friendly acoustic setting of London’s Henry Wood Hall, with no key clicking or performer breathing to mar the intimate experience. Like the music itself, a pleasant, worthwhile diversion. [2/5/2002]
