Céline Moinet (oboe, above – picture Francois Sechet), Florian Uhlig (piano, below)
Schumann 3 Romances Op.94 (1849)
Nielsen 2 Fantasy Pieces Op.2 (1889)
Clara Schumann 3 Romances Op.22 (1853)
Robert Schumann 12 vierhändige Clavierstücke für kleine und grosse Kinder Op.85/12 – Abendlied (1849)
Pasculli Concerto on ‘La Favorita’ by Donizetti ()
Wigmore Hall, London; Monday 4 December 2017
Written by Ben Hogwood
The broadcast can be heard on the BBC iPlayer by clicking here
Robert Schumann was a composer equally at home in short musical forms as he was in longer constructions – but it seems his most intimate thoughts can be found in the shorter pieces, either his songs or his chamber music. Schumann’s lyrical style of writing means that pieces like the 3 Romances, written for Clara as a gift, transfer effortlessly between treble instruments such as the violin, clarinet or horn. These three, however, work best on the oboe, its tone perfectly suited to the reflective and slightly mournful outer pieces.
The two Nielsen pieces are early works, written by the composer shortly after his graduation from the Copenhagen conservatoire – a Romance and an Intermezzo in the form of a Humoreske.
Returning to Schumann, we hear an arrangement of a piano piece for children, and then three Romances by Schumann’s wife Clara. These were originally written for the violinist Joseph Joachim, but like her husband’s music they transcribe for oboe and piano with ease.
Finally a piece by Antonio Pasculli, regarded as the best oboist of his time – and one who enjoyed arranging operatic themes for the oboe in highly virtuosic pieces with piano accompaniment.
Follow the music
The times used relate to the broadcast link above.
Schumann 3 Romances Op.94 (1:34) (12 minutes)
The first piece (1:34) is lyrical but slightly downcast in its musical though, a time for reflection. The mood becomes more upward looking for the second piece (4:55), Schumann switching towards the major key for a gentle tune that he contrasts with an energetic central section (from 6:04). The third piece (8:54) begins with the bare bones of a melody, played by the oboe and piano together, with darker shades to the texture and harmony that never fully leave the music.
Nielsen 2 Fantasy Pieces Op. 2 (from 15:13) (6 minutes)
Nielsen gives the oboe a sweet melody for the first fantasy piece, a Romance (15:13) but characteristically alters the harmonic setting to throw it just a little out of kilter.
For the Intermezzo – a Humoreske – from 18:32, an impish and slightly mischievous approach makes for a charming piece, especially when the harmony moves into the major key.
Clara Schumann 3 Romances Op.22 (from 22:36) (10 minutes)
The first Romance is a genial piece that goes on to test the oboist’s control of the upper register. There is fluid interplay between the oboe and piano before the piece softens at the close. From 25:34 the second piece moves into a minor key, and once again a darker outlook. The third Romance, from 28:22, is the most expansive of the three, with flowing piano and a long legato oboe line, before Clara introduces a more playful aspect to the oboe’s lines.
Schumann Abendlied Op.85/12 (from 32:56) (2 minutes)
A short but sweet lullaby from Schumann’s Music for Children (Large and Small!), Abendlied (An Evening Song) is beautifully played.
Pasculli Concerto on La Favorita by Donizetti (36:44) (12 minutes)
A carefully considered piano introduction sets the scene, in the spirit of the best concertos, with the oboe following 40 seconds later. The slower introduction includes some extremely tricky passagework for the oboe, but also some broader melodies from Donizetti’s opera. Then after a cadenza from the oboe, the pace quickens (41:45) in a march. Now the oboe line is incredibly demanding, twisting and turning in rapid figurations in what feels like a thorough test of stamina rather than anything more musically meaningful!
Thoughts on the concert
This was quite a short recital for the Wigmore Hall lunchtime, but was beautifully played by Céline Moinet, who showed off technical prowess but more than anything a keen ear for and aptitude with the music. She inhabited Schumann’s world easily, finding the thoughtful intimacy that he pours into his shorter works, not to mention the darker side they inevitably hint at.
For the Pasculli she was really able to cast off the shadows, but here Florian Uhlig’s virtuosity and prompting were just as important, the pianist mastering some tricky runs in response to Moinet’s ever greater athletic feats. That she managed to bring across Donizetti’s operatic melodies was no mean feat, and the end was thrilling in its bravura.
Further listening and reading
You can listen to Céline Moinet and Florian Uhlig in their new album Schumann Romances, available here on Spotify:
Meanwhile Moinet’s previous disc, Meditations, brings together a lovely combination of French, Italian and German works – some original, some arranged: