Mozart’s Clarinet brings Nicola Boud, Simon Cobcroft and Erin Helyard to UWA’s Winthrop Hall for Musica Viva

Life has come full circle for traditional woodwind guru Nicola Boud, a Perth-born University of WA alumna who brought Mozart’s Clarinet to Winthrop Hall on Saturday for Musica Viva. One of three musical daughters to clarinettist father Michael, Boud traces her fascination with early instruments to a Musica Viva tour by historically informed ensemble Nachtmusique when she was 16. This year she combines early basset horn and clarinet with cello (Simon Cobcroft) and fortepiano (Erin Helyard) in a homage to Mozart that curiously splits the repertoire four-to-two in favour of Beethoven. Boud and Helyard opened with Beethoven’s Sonata for Fortepiano and Horn Opus 17, transcribed for basset horn — a barely there ghost of a sound delivered with polish and aplomb. Fanfare figures reflected the horn-playing origin of the piece, answered by silvery tones on fortepiano that triggered florid melody from Boud; each artist seemingly framed in glass, such was the delicacy of their playing. Boud’s repeated fanfares alternated with mid-range musings, dropping to bass before stirring another melodious outburst from Helyard. Though the basset horn’s contortions seemed to drive its sound towards Boud’s feet, it lost nothing in projection in the Poco adagio second movement despite a slower tempo and contemplative tone, rolling gently over lightly exercised fortepiano runs and rumblings. Composed early in Beethoven’s career, this sonata owed more to Mozart’s 18th century legacy than the Romantic revolution to come, yet lacked nothing by way of facility in the Rondo finale. Fortepiano and cello carried the program forward with Beethoven’s 12 Variations on a theme from Mozart’s opera The Magic Flute. Classical splendour resonated in fortepiano — the wooden-framed forerunner of today’s steel-based concert grand — while cello leant more into the Romantic future. Dark timbre from Cobcroft contrasted neatly with rousing if restrained colour from Helyard; a well-judged partnership from go to whoa. Clarinet finally debuted in Mozart’s “Kegelstatt” (Bowling alley) Trio in E flat major, drifting into play after opening salvos from fortepiano and cello. The Classical-style boxwood instrument was surprisingly modern in sound despite its antique appearance; sparse in metal accoutrements compared with the contemporary “black stick of death”. Boud sustained notes and tone as if to defy the lightweight structure of the artefact; demure in character yet matching full-toned cello in the Andante first movement. The Menuetto second stanza summoned all three artists to the dance, falling away to fortepiano continuo then resuming with measured gusto. Cobcroft’s virtuoso fingerwork, glimpsed in the Variations, now asserted itself, though never in detriment to clarinet or fortepiano. Each had their moment of sunshine before flowing smoothly into the Rondeaux finale. Quicksilver keyboard skill was offset by opulent cello as Boud injected ethereal strains that looped and tumbled through the air before waxing lyrical in more muscular phrases with an ebullient flourish to close. After the interval, Beethoven’s Aria with Variations from Three Duos wove a delicate tapestry in silky smooth clarinet over warp and weft from cello as Cobcroft contrived a rhythmic counterpoint to Boud’s narrative voice. The steely fingered discipline of clarinet technique seemed well matched in cello, plangently progressing a walking bass line as Boud took flights of fancy in variations swift and assured; the two swapping virtuoso riffs towards another fine flourish to finish. Helyard took a solo turn with Mozart’s Piano Sonata in C major, a piece written for students with a theme familiar to many an aspiring pianist. That shared experience was short-lived as Helyard launched into transports of deftly dazzling artistry, racing away with grace and style to a decisive cadence. The Andante middle movement delivered more of the same in slower tempo; the text book nature of the piece — composed when war paused Mozart’s concert career and he earnt a living by teaching — sat light and easy on the ear. When the Rondo finale dawned it rained notes like a spring shower, fluid and sparkling with bravura in conclusion. Beethoven’s “Gassenhauer” (Alley Song) Piano Trio in B flat major closed the bill in very modern terms; Boud carrying the lead with fluent assurance, duetting with each colleague in turn. Mellifluous clarinet contrasted with crystalline fortepiano and grainy cello, bonding in chordal phrases and eloping in solo flurries, with a sudden dismount from the Allegro first movement. Cello led out the Adagio second stanza with langour and longing echoed in clarinet; soft, soulful, and haunting in phrasing. Boud and Cobcroft shared an exquisite duet, the clarinet infusing filigree-like ornamentation, building to a lead then fading to close. In the finale, a trio opening gave way to fortepiano fireworks in a Theme and Variations, calming to clarinet and cello then breaking back to frenetic energy and colour. Moods came and went like voices in the streets; a ballad of the banal elevated to artistic eloquence in joyful celebration. Mozart’s Clarinet is on tour until July 28.