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Alix Goolden Performance Hall
May 13, 2006
"A phenomenon like Mozart remains an inexplicable thing."
It is now two and a half centuries since Mozart's birth and yet Goethe's observation is as true today as it was when he made it: how does one explain a Mozart?
Happily, for most of us, the question can be left moot and we can simply accept that Mozart existed and that the human race is the better off for his having done so.
Mozart's Piano Quintet, K.493, scored for keyboard and four winds, is, unlike say his piano trios and quartets, an almost concertante work, larger in scale and less intimate than much chamber music. It was composed March 1784, immediately after three piano concertos (K.449-451) and premiered in the Imperial and Royal National Court in Vienna.
The work was well-received indeed; as Mozart wrote to his father: "It had the greatest applause. I myself consider it the best thing I have written in my life."
Saturday evening's concert closed with an excellent performance of the quintet by Helmut Brauss, Jennifer Christensen, Russell Bajer, Jennifer Gunter and Nora Lowden. Balances were very good and there was no attempt made to force the music into a more intimate mood. Yet, there was no question, either, that we were listening to a cut-down concerto; the players approached the music with a perfect feeling for the appropriate scale.
So engrossing was the performance that my notes were rather sparse (this is a good sign). I was particularly taken with the way the wind players passed the melody lines around among themselves in the delicious slow movement.
A delightful way to end a warm summer evening.
The Piano Trio, K.496, which closed the first half, is a good example of Mozart's more intimate style. It also features some interesting formal aspects - was that really a repeat in the development section?
Brauss, Christi Meyers and Martin Bonham played the trio with style and elegance: as was evinced both in the stately slow introduction and the succeeding allegro, which had a definite misterioso feel to the development.
The slow movement was quite lovely and the finale playful, except for the wonderful minor key variation,
Balances were generally good although, as one could have predicted, the cello did tend to get submerged at times and the hall's brightness seemed to underline a slight edge on Meyers' top string.
If one wishes to understand just why Mozart was so highly regarded in his time (albeit not by everybody) then Variations on "Come un' agnello", K.460 provide a good indication. Taken from a popular opera by Giuseppe Sarti, the theme may not be quite the "cobbler's patch" that Beethoven considered Diabelli's waltz, but the word "banal" certainly kept hovering at the back of my mind.
Mozart's genius, of course, was what he did with the theme in a series of quite dazzling variations. Brauss opened the second half of the concert with a fine performance, especially the profound minor key variation. Was Sarti flattered or humbled by the tribute?
Authorities have doubted the authenticity of the Duo for Bassoon and Cello, K.292 and, frankly, I'm inclined to go along with them. The music is jolly enough and gives the bassoon plenty of opportunity to ameliorate its usual image as either a mere provider of orchestral colour or mild comic relief.
Jennifer Gunter and Martin Bonham made the most of the music, its jolly opening movement, charming andante and perky finale..
But I'm still not quite convinced that Mozart actually wrote it.
MiV HomeLast modified: Mon May 15 12:17:56 PDT 2006