20th-Century Clarinet and Piano Works: Romano and Hicks’ Captivating Anthology

Composer: Various
Works: Birtwistle – Verses (1965), Bennett – Scena III (1977), Maconchy – Fantasia (1979), Crosse – A Year and a Day (1979), Powers – Sea/Air (1985), Wood – Paraphrase on Birds of Paradise Op.26 (1985), Butler – Capistrano Song (1984), Berkeley – Flighting (1987)
Performers: Kate Romano (clarinet), Alan Hicks (piano)
Recording: Hospital of St Cross, Winchester, July 1995 and March 1996
Label: METIER MSV CD92013

The anthology of 20th-century music for clarinet and piano presented in this recording showcases a rich tapestry of British composers, each bringing their unique voice to this instrumental partnership. From the early explorations of Harrison Birtwistle’s “Verses” to the more recent contemplations of Michael Berkeley’s “Flighting,” this collection not only illustrates the evolution of clarinet repertoire but also highlights the nuanced interplay between the clarinet and piano, as articulated by the performers, Kate Romano and Alan Hicks.

Romano’s interpretation of Birtwistle’s “Verses” is particularly striking. The piece, often perceived as challenging due to its rapid shifts in character and texture, emerges under her fingers as both accessible and engaging. The clarity with which she navigates the epigrammatic passages allows for the subtle exchanges of roles between the clarinet and piano to resonate, emphasizing their conversational nature. Hicks complements her with an equally responsive piano part that balances the clarinet’s lyrical lines with a robust yet sensitive harmonic foundation.

Richard Rodney Bennett’s “Scena III” thrives on its kaleidoscopic nature, and the duo captures its improvisatory spirit with deftness. Romano’s ability to shift from quieter, introspective moments to more agitated episodes showcases her extensive command over the clarinet’s expressive range. The interplay between the two instruments is particularly effective in this work, with Hicks providing a fluid support that enhances the drama without overshadowing the clarinet’s voice.

The engineering quality of this recording merits attention. The acoustics of the Hospital of St Cross impart a warm resonance that enhances the tonal richness of both instruments. This is particularly evident in the recording of Elizabeth Maconchy’s “Fantasia,” where the interplay of harmonies is captured with clarity and depth, allowing the listener to appreciate the intricate textures and searching harmonies that characterize Maconchy’s late style. The sound engineering provides a balanced soundscape where every nuance is discernible, yet the overall presentation retains an inviting warmth.

Comparatively, while many renditions of these works exist, Romano and Hicks’s collaboration stands out for its interpretative freshness and technical precision. For instance, Gordon Crosse’s “A Year and a Day” possesses an ethereal quality that some recordings fail to convey. Here, Romano’s phrasing and dynamic control breathe life into the piece, creating an immersive experience that resonates long after the final note.

Piers Hellawell’s “High Citadels” introduces an intriguing layer of complexity, with its prepared piano effects and contrasting sections. Romano and Hicks navigate these challenges with expertise, their performance highlighting the stark contrasts and blending of sonorities that define the work. The final piece, Berkeley’s “Flighting,” offers a contemplative conclusion with an improvisational feel, and Romano’s interpretation is both lyrical and reflective, effectively encapsulating the emotional breadth of the recital.

This recording is a testament to the diverse expressions of the clarinet within 20th-century British music, underscoring both the instrument’s versatility and the imaginative capabilities of its composers. The synergy between Romano and Hicks results in a compelling listening experience that invites repeated engagement, making this an essential addition to the repertoire for clarinet and piano. The meticulous attention to detail in both performance and recording quality ensures that this collection will resonate with both seasoned listeners and newcomers alike.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.