This disc sees what are, presumably, premiere recordings
of four works for clarinet and string trio composed by Hoffmeister from
a series of six pieces that have not been published. Born in Rottenberg
an Neckar in 1754, Hoffmeister was studying in Vienna by the age of
14. There he befriended Mozart, to whom he gave financial assistance
(in return, Mozart dedicated a string quartet to Hoffmeister). Having
a considerably better head for business than his contemporary, Hoffmeister
owned and ran his own publishing company and his partners in business
included the composers Pleyel and Dittersdorf. Interestingly, he was
a freemason along with Mozart and Haydn. All of which hasn’t helped
his fate in the history books. Long forgotten and cruelly neglected
by performers and scholars alike, Hoffmeister has suffered in the same
way as countless other Viennese classicists of the 18th and
19th centuries (such as Pleyel and Süssmayer).
Foremost an instrumental composer, Hoffmeister left
many compositions for flute, quartets for strings or wind, piano concertos,
symphonies and numerous concertos and serenades for wind. He composed
two series of six compositions for the present combination of clarinet
and string trio. The first of these was published by Pleyel in 1802
whilst the other was never published. It is four works from this latter
set that appear on this handsomely presented new recording from CPO.
According to the booklet note provided by clarinettist Dieter Klöcker
(who unearthed these quartets from the library of the Gesellschaft der
Musikfreunde in Vienna), these unpublished quartets are longer, more
difficult and more elaborate than their predecessors. Furthermore, Hoffmeister
frequently takes the clarinet to the extremes of its register in a way
that few had done previously. And while his musical style is most obviously
‘Mozartian’, it becomes clear that he could at times be far more than
a mere clone.
The opening work on the disc, in A major, is a good
indicator of what is to follow, both in terms of music and performance.
The first movement is by turns tuneful and decorative, featuring a plethora
of clarinet runs and arpeggios (played with fluency through each register
by Klöcker) but with some pleasingly graceful ideas. Whilst the
strings are generally no more than an accompaniment to the clarinettist’s
acrobatics, in the central development section they take on a slightly
more active role. The three members of the Vlach Quartet play with sensitivity
in accompanying passages but their bright, thin sound (due in part to
a discreet use of vibrato, a concession no doubt to period performance)
will not be to all tastes, becoming abrasive above the stave or at higher
dynamic levels. Whilst the clarity and vibrancy of this approach is,
by and large, and asset in the outer movements (the concluding Allegro
is joyful and carefree), the central Poco Adagio suffers somewhat. At
a flowing pace, these musicians are commendably unindulgent yet the
effect is perhaps too positive, the brightness of the strings and a
slight feeling of haste creating a somewhat unsettled atmosphere when
the mood should be calmer and more intimate.
Generally, these reservations apply to the remainder
of the disc, if in smaller measures. Slow movements are played with
greater sensitivity than that of the first work, featuring some expressive
playing, particularly in the Romance poco Allegro of the B-flat work
(track 5) although here the brightness of the violin sound becomes tiresome
above the stave. The first movement of the same work features some excellent
string playing, however, particularly the well-articulated (and characterised)
violins runs early on. This movement also shows the clarinet at the
extremes of its register, never merely for effect but always as part
of a cogent musical argument. Klöcker dispatches all of this with
considerable ease and, in the concluding Rondo, excellent breath control.
In fact, all of the players seem to be in their element here, providing
a performance of wit and point in the more extrovert moments and winning
grace elsewhere.
The most interesting piece on this disc is the final
work, in E-flat. Contrary to the CD cover, this does not last for 81
minutes although it does contain five movements instead of the usual
three. The first two movements are much as before, a sonata form allegro
followed by a slower movement. However, Hoffmeister then writes what
appears to be a three-fold finale consisting of three extremely short
fast movements. The first of these, a Rondo, is positive and extrovert,
drawing similar virtues from these players. The succeeding Allegro is
so compact as to seem manic- the music of this ternary movement reaches
the minor after just 20 seconds and moves away from it with similar
speed. The conclusion sees Hoffmeister at his most witty, a pause followed
by a throwaway punch line accompanied by staccato strings. The final
movement reinforces the somewhat odd nature of this triptych. Hoffmeister
here writes an utterly conventional, undistinguished and formulaic classical
menuetto in the manner of early Mozart. However, he interrupts this
with a brief statement of the rondo theme from the third movement to
draw the work to a close. It is worth stating that these players present
the little menuetto in the requisite po-faced manner.
So while much on this disc brings to mind Hoffmeister’s
more famous contemporaries, there is still a seam of individuality running
through these works. More importantly, there is an exuberance and sense
of joy throughout, countered by the songful inner movements. These performances
are consistently enjoyable and as long as the listener does not have
a complete dislike for the ‘period’ sound, then there is much to stimulate
in these delightful works. Klöcker himself, presumably the driving
force behind these recordings, is an impressive soloist who brings to
life the frequently difficult clarinet writing. The result is effervescent.
His informative booklet note, containing a great deal of useful information
about the composer is unfortunately rendered misleading or in places
incomprehensible by the muddled translation. Sound quality is excellent
and CPO’s presentation is very attractive. Recommended to anyone with
an interest in chamber music of the classical period or to those who
simply like to be entertained.
Owen Walton
Dieter Klöcker, clarinet