In her fourth postgraduate recital, Lucy Abrams-Husso studies contemporary Finnish and American compositions for clarinet that are influenced by folk music sounds and traditions.
In the first half, Lucy focuses on unaccompanied clarinet repertoire by composers Kimmo Hakola and Eric Mandat. There will also be a World Premiere of Pia Siirala’s new work, Three Clarinets. As violinist and composer, Pia studies the musical traditions of the indigenous Sakhalin, Kamchatka and Chukotka peoples of northeastern Siberia using composition as her research method.
In the second half, Lucy is joined by the Bålder Quartet for David del Tredici’s Magyar Madness for clarinet and string quartet. Composed in 2006 for klezmer clarinetist David Krakauer, the three-movement work is influenced by Beethoven Op. 130 Grosse Fugue and Schubert’s 4-handed piano work Divertissement a la Hongroise, Op. 54.
- Lucy Abrams-Husso, clarinets
- Bålder Quartet (Andre Ng, violin, Marie Stolt, violin, Vadim Grumeza, viola, Tommi Wesslund, cello)
- Kimmo Hakola Diamond Street (1999) for clarinet solo
- Pia Siirala Three clarinets (2022) for clarinets solo (World Premiere)
- Eric Mandat Folk Songs (1986) for clarinet solo
- David Del Tredici Magyar Madness (2006) for clarinet and string quartet featuring the Bålder Quartet
Doctoral Project: Contemporary Clarinet Repertoire from Finland and the United States
Lucy’s doctoral research project is entitled ‘Contemporary Clarinet Repertoire from Finland and the United States – New Ways of Artistic Expression and a Study of Sociocultural Differences’.
The project is an artistic and sociocultural study of contemporary clarinet repertoire composed by Finnish and American composers post-1980.
The artistic goals are to develop musicianship through a comprehensive study of contemporary music, and to identify the unique skills required to perform contemporary music in order to ‘prove’ that contemporary music is a necessary artistic area of focus for the twenty-first century orchestral clarinetist.
The project also examines how and why contemporary Finnish and American repertoire are conceived and performed differently from the performer’s perspective, with focus on notation as cultural practice and the topic of shared ownership.
Additional information: Lucy Abrams-Husso