D’Amore!
Jean-Pascal Chaigne — Constellation (2023-4) for clarinet d’amore and chamber orchestra
Ernest Bloch — Concerto Grosso No. 2 (1952) for strings
Wolfgang Amadeus Mozart — Concerto in G Major, KV 621b/622 (1791) for basset horn in G and orchestra (complete)
Camerata Ataremac
Richard Elliot Haynes — basset horn in G & clarinet d’amore
The recreation of the clarinet d’amore and basset horn in G — forgotten members of the clarinet family — has given us the opportunity to understand how Mozart originally intended his Concerto KV 622 to sound. Originally scored for a soloist playing basset horn in G and later re-scored for a basset clarinet in A, KV 622 is today most often played in A major and on clarinets for which major adjustments of the solo line are necessary. The original key of G major and performance on basset horn in G bring out a new, as yet unheard level of resonance from this popular masterpiece. Richard Haynes has joined forces with Camerata Ataremac, whose line-up, halfway between a modern orchestra and a chamber ensemble, is perfectly suited to pair with this type of instrument and realise such a daring project.
The programme is rounded off by two Swiss works based on the concerto grosso, including a commission for clarinet d’amore and chamber orchestra by composer Jean-Pascal Chaigne. The creation proposes to treat the relationship between the clarinet d'amore and the orchestra as a love duet, in a true symbiosis. Since its creation, Camerata Ataremac has sought to offer an alternative to the hierarchical structure of the classical orchestra. These two pieces highlight the relationship between the individual and the group in a quasi-emotional way. Rounding off the programme is Ernest Bloch's Concerto grosso No. 2 that references the baroque form, bringing the orchestra into dialogue with a string quartet.
Pre-concert talk at 4:30pm
Tickets at the door
Camerata Ataremac was founded by musicians from diverse cultural backgrounds active in various musical genres, from baroque through to contemporary music. They are teachers, orchestral musicians and freelancers, come together based on common interests but also thrive on their differences. The adventure is not led by one person but by sixteen; the balance is fragile and the discourse is complex, but the final result is gripping: on stage each musician places their talent and experience in service of the music.
