Kaleidoscope Chamber Orchestra at Whyte Recital Hall (RIAM), Dublin, on 31 July 2024

The LA-based Kaleidoscope Chamber Orchestra lists a generous number of players on its website but, for its European debut tonight, presents itself as a quintet. Any other ensemble might offer alternative branding for something like this – Kaleidoscope Chamber Soloists? Naming quibbles aside, the group offers an intriguing programme of works for clarinet quintet (string quartet with solo clarinet) tonight, exploring the possibilities of this combination at two distinct points in time. The ensemble supports community causes in its southern California home and brings this generosity to Dublin, with this concert a fundraiser for the excellent work of the Irish Heart Foundation.

The first half features new works, both commissioned by Kaleidoscope, opening with the European premiere of ‘Nervous Systems’ by Christopher Cerrone. The title puns on the Italian nervi (‘nerves’), also the name of both a Ligurian fishing village and that of brutalist architect Pier Luigi Nervi. Its minimalist style is deepened by the rigour of performance practice, all five instruments maintaining a cohesive stillness of tone, with complete avoidance of expressive vibrato. The use of bowing effects creates atmosphere, like the slap of waves against the seafront, and an eerie lightness. The final section sees a shift in focus as the tone becomes brighter and harsher, with swooping clarinet lines allowing for a hint of character. It is a good introduction to the work of a composer not so often heard this side of the Atlantic.

Emma O’Halloran

Receiving its world premiere tonight is ‘here and now’ by Emma O’Halloran, a commission supported by the Arts Council. Picking up on the theme of health and environmental awareness, this work builds gradually by layers, with an engaging circularity of canon-like interplay. Beautifully refined playing by clarinettist Benjamin Mitchell is well-matched by the smoothly idiomatic playing of his colleagues, with hints of vocal writing developed into passages where the string players are invited to add their breathing, and even hummed tones, into the mix. The improvisational elements encourage a sense of indeterminacy and timelessness, crafting a shared moment and a beautiful and meditative ambience.

After the stillness of the first half, the jump back to the 1890s and a work as canonical as Johannes Brahms’s Clarinet Quintet is quite the flex. Having excelled as interpreters of contemporary music, it is impressive to see the Kaleidoscope players inhabit this richly expansive material equally well. Brahms’s cosmopolitan approach, mixing village band hints with smart urbanity, and evoking styles from east and west, is well-reflected in this characterful ensemble performance. This work is a gorgeous and much-loved piece, and the playing is full of colour and affection, with a superb sense of contrast and depth across the ensemble. The sense of instrumental diversity explored in the first half is developed even further now, without any loss of balance. The warmth of the lower strings is especially telling, but the sense of colour and crackling energy unites the ensemble as a whole, with much to enjoy.

After this, the quick decision to add an encore risked dampening the afterglow of the Brahms, but nothing could undo the reflective spell this ensemble cast. We hope to see them return, perhaps at full strength, before too long.

Programme:
Christopher Cerrone, ‘Nervous Systems’ (European premiere)
Emma O’Halloran, ‘here and now’ (world premiere)
Johannes Brahms, Clarinet Quintet in B minor, Op. 115
Encore: Robert Schumann, ‘Abendlied’, from 12 Stücke für kleine und große Kinder, op. 85 (uncredited arrangement for quintet)
Members of the Kaleidoscope Chamber Orchestra: Luke Hsu (violin I), Ann Miller (violin II), Neasa Ní Bhriain (viola), Rainer Crossett (cello), Benjamin Mitchell (clarinet)