Great Clarinet Concertos: Michael Collins Plays Mozart

Under Collins' baton, the which kicked off the concert, was flawless, and the piece continued on frothy and fun, warm and unaffected. Pointed accents, crisp woodwind details and graceful turns of phrase brought the music to life. Collins was the soloist on basset clarinet as well as conductor on Mozart's .

The word "basset", whether it refers to a dog or a musical instrument, means "rather low", and it was a treat to hear its reedy, growly low range. Collins' tone was sweet and effortless in Mozart's charming melodies.

The slow movement was the high point; its unforgettable tune had the perfection of a flower. The third movement was a train trip through a colourful landscape. Collins plays impetuously in fast passages, to the brink of rushing, but the burst of energy was worth the slight blurring of strict time. His clean arpeggios were like dancing jets of water.

The second half was the magnificent , , for 13 players on woodwinds, brass and double bass. The ensemble wasn't as tight here, perhaps because Collins was conducting from his seat while playing.

But the massed winds' texture was mesmerising. The section in this piece, too, was ravishing, but the tempo felt rushed. Mozart paired instruments in dazzling duets, especially the two clarinets, two oboes, and oboe and bassoon. The four horns had majestic harmonies, and double bass player Masami Nagai gave excellent underpinning. Oboist Marrie Rose Kim was exquisite in her graceful, bell-toned solos.

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