The first movement of Beethoven’s skilful arrangement for clarinet, bassoon and piano of his Septet made an agreeable overture for the concert. It was interesting to hear familiar music in a new guise, but the piano lid fully open sometimes led to the instrument’s over-dominance. Then followed Britten’s Three Character Pieces. Sarah Beth Briggs, who premiered these recently discovered solo piano rarities, spoke to us about them and her playing proved fully up to their virtuosic demands. The piano lid was then lowered with noticeable improvement in balance for William Hurlstone’s Trio. It is heavily influenced by Brahms with some characteristic writing for his beloved clarinet but also with many lyrical opportunities for the bassoon and a typically full-textured piano part. The music was never played during the composer’s lifetime and if there is a heaven he’s there, and surely grateful for Clarion 3’s convincing advocacy.

The Bernstein Clarinet Sonata is an early work. After a busy Hindemith-style work out the first movement’s wistful coda was beautifully played by the clarinettist. The second movement is more recognizably ‘Lenny’ in character and the players seized on both its jazzy qualities and haunting lyricism of the more reflective passages. Then came the Saint-Saëns Bassoon Sonata of 1921 which seems to belong to an earlier era. Nevertheless its agreeable discourse allowed Lawrence Perkins ample scope for both the legato playing and deft rapid figuration that were expertly displayed. The trio then reconvened for the idiosyncratic Glinka Trio Pathetique. The players responded well to its often operatic inspiration, the slow movement almost an Italian love duet played con amore by clarinet and bassoon. Here and throughout the concert the pianist was a tower of strength driving the mystery tour bus.

G.K.