Heinrich Baermann (1784-1847) was the great clarinettist of his day, principal in the royal orchestra in Munich for most of his career. He inspired not just Weber but also Mendelssohn, both of them friends as well as admirers of his masterly playing. So it is very apt to have this grouping of works on a delightful disc from the inspired sister and brother team of Sabine and Wolfgang Meyer.

Baermann’s Clarinet Quintet, originally published in 1820 with optional parts for two horns, is here played with the string quartet parts adapted for string orchestra, the sort of arrangement that Baermann himself might have devised. Evidently influenced by the Weber Quintet, written just before, the fluency of the clarinet writing goes with an unpretentious structure built on clear if not specially memorable themes. Wolfgang Meyer as soloist, with Kenneth Sillito and the Academy, is revealed to be just as brilliant a clarinettist as his sister.

Weber’s Clarinet Quintet is an even more obvious candidate for adapting into a concerto for clarinet and strings, when on a much larger scale it offers such virtuoso writing for the solo instrument. Inspired by the playing of his friend, Weber began writing it as a labour of love while on holiday in Switzerland in 1811, following up the two concertos and concertino he had already written for him on commission. Sabine Meyer is at her most inspired, combining wit and warmth in the ambitious first movement and producing honeyed pianissimi in the Fantasia slow movement. The exuberance of the writing in the Menuetto capriccio and the Allegro giocoso finale is matched by the joy of her playing, with every technical difficulty relished to the full.

Mendelssohn’s two delightful pieces for clarinet and basset horn could not be more apt to complete the programme – miniature concertos in all but name, each in three tiny movements. The story has often been told of Mendelssohn being challenged by Baermann and his son to write a piece for them while they cooked one of his favourite dishes, a cheese strudel. He was then prompted almost immediately to add a second piece, just as freely spontaneous in its inspiration. They are perfect vehicles for Sabine and Wolfgang Meyer in duet, again opting for string orchestra accompaniment rather than the original piano.