United States Mozart: Maxim Vengerov (violin), Lawrence Energy (viola), Orpheus Chamber Orchestra. Carnegie Corridor, New York, 7.11.2024. (RP)
Mozart – Violin Concerto No.2 in D main, Okay.211; Violin Concerto No.5 in A significant, Okay.219, ‘Turkish’; Sinfonia Concertante in E-flat main for Violin and Viola, Okay.364
Violinist Maxim Vengerov started his three-year Carnegie Corridor Perspective collection with two concert events dedicated to Mozart’s compete works for violin and orchestra. This, the second of the 2, featured items that Mozart composed from 1775 to 1780. It was a exceptional interval of improvement for the younger composer, who was simply 19 years previous in 1775 when he pumped out 4 violin concerti in a single yr.
Conforming to the customized of Mozart’s day, Vengerov carried out each as soloist and conductor. His collaborators had been the Orpheus Chamber Orchestra, which is understood for working with musicians of all stripes, and pleased with the truth that it has by no means had any use for a conductor. Little was thus required of Vengerov within the latter regard however to sometimes cue an entrance, form a phrase or present a dynamic shading. Orpheus gave Vengerov free rein to do what he does greatest: play the violin.
The Violin Concerto No.2 is a captivating, lighthearted work, which is of curiosity primarily as a musical steppingstone on Mozart’s path to maturity as a composer. There may be little of the musical complexity, fascinating textures or dramatic depth that might be present in his mature works. Meant as courtly leisure with its composer as soloist, this efficiency by Vengerov and Orpheus fulfilled such expectations with grace and impeccable musicianship, in addition to a good quantity of virtuosity from the violinist.
As he would within the Violin Concerto No.5 which got here subsequent on this system, Vengerov performed his personal variations of the cadenzas. The one within the first motion of the Concerto No.2 was an ideal union of interval fashion fused with fashionable verve. Simply as Mozart injected humor into the music, so did Vengerov on this cadenza, prompting greater than a smile or two within the viewers.
Mozart composed his First Violin Concerto in 1773, with the remaining 4 authenticated ones, Nos. 2 by means of 5, composed two years later. Violin Concerto No.5, dubbed the ‘Turkish’ because of the ‘wild’ music within the third motion, is a minimize above the others when it comes to sophistication, particularly the musical surprises with which Mozart peppered it.
Within the closing one, Mozart’s command of writing for an orchestra additionally superior, which Orpheus readily demonstrated. Within the first motion, there have been some notably thrilling passages for the horns, whereas within the second the orchestra’s enjoying pulsated with the stress Mozart wove into the music. The eventual launch of such feelings introduced pleasures of their very own, particularly within the sense of equipoise that the orchestra achieved at such moments.
Within the final motion, after the measured frenzy of the ‘Turkish’ dance, the concerto ended with essentially the most swish of turns, as if a zephyr lifted the music skywards. Vengerov was largely liable for conjuring the magic in that musical gesture.
The Sinfonia Concertante Okay.364 is the apex, in addition to the fruits, of his works for solo violin. He was launched to the style in Paris, however listening to the magnificent orchestra in Mannheim, among the best in Europe, additionally fueled his creativeness. He began six works on this style for various combos of devices whereas in Paris in 1778. It took only some measures to appreciate this was Mozart of a far completely different kind than had been heard within the two works carried out within the first half of the live performance. Though Don Giovanni was nonetheless a number of years off, the Sinfonia Concertante has far larger emotional depth – maybe because of the demise of Mozart’s mom – and already pointed in direction of the wedding of music and emotion that might quickly be his to command in one in every of his biggest operas.
Mozart envisioned the Sinfonia Concertante as a dialogue not solely between the soloists, but in addition one which prolonged to their relationship to the orchestra. Violist Lawrence Energy and Vengerov are a longtime staff whose complementary stylistic variations enriched the efficiency. The violinist took a extra classical fashion to the music, whereas the violist assumed a extra relaxed, usually contemplative method, coupled with a contact of insouciance. After they enjoying collectively, Vengerov’s superb, wealthy sound blended completely with Powers’s equally sturdy however mellower tone.
Their artistry was on prime show within the cadenzas of the primary and second actions. The enjoying was joyful within the former, whereas within the latter it was smooth and wistful. Such sentiments had been fleeting, nonetheless: jubilation predominated, particularly of their bravura enjoying within the third motion. That spirit carried over to their interplay with the orchestra, particularly within the soloists’ engagement with the oboes and horns. The fantastic emotional tug and pull between all of the musicians on the stage resulted in nice happiness and exhilaration for all.
Rick Perdian
