APO’s Joshua Clark spoke to clarinettist Annelien Van Wauwe ahead of her performance with the orchestra for The New Zealand Herald Premier Series: Mozart’s Clarinet.
Basset clarinet and Mozart, what a treat! What are the beauties as well as the challenges of performing on this instrument, and can you share your thoughts on the significance of this instrument when playing Mozart’s Clarinet Concerto?
The basset clarinet literally gives depth to the concerto. A lot of melodic phrasing through the basset notes makes the concerto what Mozart intended it to be: pure, natural music. The instrument is longer than a normal A clarinet and therefore heavier. Carrying it is not always the most ergonomic and in addition to physical strength, requires more strength in the blowing technique because the air has to travel a greater distance. I personally find that this extra effort makes the music even more special.
Tell us about your process for learning a major solo work with orchestra.
Learning a concerto requires a lot of discipline in order to be able to play every little detail in the clarinet part as perfectly as possible, and also to be able to perform it with the same conviction in a performance. This is a process that takes an immense amount of time. Knowing what every other musician in the orchestra has to play is also a must, of course. This is the only way to turn a solo concerto into a chamber music experience. This way of making music, of being together, benefits everyone, and I am convinced that an audience hears and feels this interaction.
You practice yoga and meditation, how does this inform your approach to music making?
It creates physical, mental and emotional strength, flexibility and stability. What you learn on the yoga mat – also philosophically – is perfect for making music. In particular learning patience, acceptance, endurance, focus, concentration, (breath!) control and discipline has a very calming effect on clarinet playing. Control also means that true emotions can be expressed during a performance which is often prevented when stage fright or general stress arises.
