Music of the Regiment (4/2/26)

From the Parade Ground to Paris ~ A Portrait of Bernhard Crusell 
Dominic Giardino ~ classical clarinet, Shelby Yamin ~ violin, Stephen Goist ~ viola, Matt Zucker ~ cello 

Quartet in B-flat Major – Franz Tausch (1762–1817)
Allegro molto

Quartet No. 4 in C minor – Jean-Xavier Lefèvre (1763–1829)
Allegro moderato
Adagio
Rondo: Poco allegretto 

Quartet No. 2 in C minor, Op. 4 – Bernhard Henrik Crusell (1775–1838)
Allegro: Molto agitato
Menuetto–Trio
Pastorale: Un poco allegretto
Rondo: Allegro 

A part of the Gotham Early Music Scene series, this was an interesting program that included three composers who were new to me—Bernhard Henrik Crusell, Franz Tausch and Jean-Xavier Lefèvre. Tausch, based in Berlin, was one of Crusell’s first teachers. Lefèvre took up that mantle in Paris. Crusell was Finnish. Geography lesson over. A word about the clarinet. When it is played in brisk, scale-like passages, it sounds bubbly. There were a lot of bubbly phrases on display. That is the last time you will read the word bubbly in this post. Now to the next minor concern. Since all three works were for clarinet quartet, they were fairly similar even though they came from slightly different eras. On to the music. 

The Tausch had a unison opening—all four instruments playing the same notes though in different octaves. It was jaunty and pleasant. The unison theme was repeated, while the clarinet was definitely featured. 

The Lefèvre, being three movements instead of one, was a bit longer. The first movement was slightly dark but not somber. In fact, it was pretty energetic. It pitted a string trio against the clarinet quartet. This compositional technique was repeated a few times. In fact, the second movement opened with the string trio that was then joined by the clarinet in a gentle adagio. There was still energy—just a gentler energy. A small, bright burst of energy led to a subdued ending. The third movement had a much brisker tempo that almost made it to fun while the minor key seemed to be holding it back. If it wasn’t quite fun, it was interesting in a good way. Then the tempo picked up and it finally made it to fun. 

After the strings retuned, the Crusell had a strong opening that then softened just a bit. Overall, the movement had a solid quality. The second movement was definitely dance-like—a nice, gentle dance, though it was also spirited at times. The third movement was gentle and lovely, opening with a string trio before being joined by the clarinet. This phrasing was repeated several times. Crusell had certainly learned from his teachers. The final movement was energetic with fleet fingering from the clarinet. It was pretty bub... oops, not going there. 

I’m glad I attended but the similarities of the three works made me rethink the concert that followed on April 9th. It was for solo flute. Literally. No piano or harpsichord or other instrument involved. Just a flute. I decided to pass on that one. 

ConcertMeister