A notable and highly enjoyable disc, not only for its
exceedingly high standard of performance but also for the choice of
repertoire, which begins with classical and early romantic chamber music
followed by two French impressionist masterpieces. This is a talented
ensemble of seven players from four different countries, excelling among
them the fine clarinettist Robert Plane, whose sparkling playing in
Weber’s Clarinet Quintet is remarkable (especially in the good-humoured
Rondo - Track 6: 4’19"), and the mellifluous flute playing of Lorna
McGhee who features in all the other works. Mozart’s flute quartet is
dominated (in its second and final movement) by a set of variations
on a charmingly memorable tune (the more striking considering how much
Mozart hated the instrument) and including a wistful adagio, but McGhee’s
talents are best displayed in Debussy’s sonata in which she develops
a wide palette of tonal colour (Track 8: 4’20"). This is not to
deny the supporting roles their due accolades, in particular the warm-toned
viola playing of Ashan Pillai and stylishly discreet textures achieved
by harpist Alison Nicholls, with the three of them giving a wonderfully
robust account of the sonata’s finale. Finally the whole ensemble come
together for a ravishing performance of Ravel’s fine Introduction and
Allegro, achieving textures of almost orchestral proportions at times
(Track 10: 01’50") belying their far smaller number, with Nicholls
once again taking a prominently stylish role, despite one or two slightly
mistuned notes in her instrument’s intonation. This is the work whose
manuscript score Ravel, in a hurry to catch (and miss as it happens)
a yachting expedition, famously left on the counter of a shirt shop,
where he had called to collect items for the trip. Luckily for him and
posterity the chemisier had a pretty shrewd idea of the significance
of what he had, so he kept the music until the composer came back for
it.
Christopher Fifield
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