Again there is a controlled element of randomness in the work, as the order of the pages of the piano part are not specified except for the first page , whilst the timings of the appearances of Mike's cats pre-recorded meowing is precise. In his booklet note Michael Finnissy talks about how all the pieces deal, at a conceptual level, with the complex business of 'Musical Culture' and all should perhaps carry a question mark to complete their titles. For example, the influence of homosexual themes and concerns began to enter his work; as in Shameful Vice in , and more explicitly in Seventeen Immortal Homosexual Poets in
Each piece is in dialogue with a cultural artefact, and one of the absorbing things about the music is trying to perceive the fragments of the original left in Finnissy's work. In contrast to the generally restrained character of the Clarinet Sonata, the title piece, WAM Wolfgang Amadeus Mozart, in other words , explodes in a dazzling fireball of violin, clarinet, and piano gestures though it gradually settles down ; as arresting is the treatment of spatial organization, with Fedkenheuer and Norsworthy taking up different locations during the recording process even off-stage and audibly distancing themselves from the microphone.
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The clarinet and the accompaniment are effectively independent, Finnissy describes the piece as a 'kit' comprising solo part and a set of independent accompaniments; the accompaniments comprise both piano and percussion. The minute Clarinet Sonata follows a familiar four-movement form but, harmonically, is far from familiar.
Certainly there's nothing about the hour of chamber music on the disc that should be cause for alarm; far from alienating, the five compositions are a consistently accessible bunch, and there's even a bit of humour present. Cross, Jonathan.