Samantha Clarke, Jane Gower, The Mozartists, and Ian Web page on trendy type at Wigmore Corridor

Mozart’s symphonies from 1774 are the topic of some dialogue. Between 13 March 1773 (when he arrived again in Salzburg) and the top of 1774, Mozart write 9 symphonies which his Father later certain collectively as symphonies nos. 22 to 30. At a while later, Mozart’s dates on them had been catastrophically obliterated (presumably in order that Mozart’s widow may promote them as newer works) and commentators nonetheless focus on the precise relationship order, primarily as a result of they need to hear Mozart’s improvement in them. However in reality, these are works the place youthful engagement and enthusiasm typically bubble up.

They’re nonetheless comparatively small-scale, compact works. The Mozartists carried out with 12 strings, double woodwind, horns and trumpets, making the music really feel like prolonged chamber music, however it’s clear that because the composer will get older and his ambitions develop (his subsequent symphonies would be the Paris symphonies from 1778 in 2028), The Mozartists’ venues should broaden equally.

We started with Symphony No. 28 in C main, scored for strings, oboes, horns and trumpets. The primary motion alternated brisk gestures and crisp element, with hints of Sturm und Drang within the improvement. There was a lyrical class to the gradual motion, however with fairly busy motion beneath and a hanging use of the horns to vary the environment within the transition to the trio. The minuet was filled with character, and extra horns, with a quietly quirky trio, then there was a number of livid scurrying within the quick and livid finale.

Paisiello wrote his opera Andromeda for the Teatro Regio Ducale in 1774, the place Mozart’s Lucio Silla had premiered in 1773. Andromeda used a pre-existing libretto by the person who wrote the libretto for Mozart’s Mitridate, re di Ponto (written for Milan in 1770). We heard a scene the place Andromeda thinks that Perseus has killed himself, and Mozart would set the textual content in 1777 in a live performance aria, although he most likely did not know Paisiello’s opera.

After a brief, elegant orchestral introduction there was an accompanied recitative that was each expressive and dramatic, main into an pressing aria the place Andromeda upbraids the person who brings her the information about Perseus. One other accompanied recitative led right into a lyrical, elegant second aria. What was hanging was the best way Paisiello developed a continuum between recitative and aria, moderately than differentiating between them. All through Samantha Clarke was excellent, with trendy and splendidly engaged singing.

Mozart appears to have written (or at the very least begun) some 5 bassoon concertos, however solely the Bassoon Concerto in B flat survives, most likely written for one of many Salzburg courtroom bassoonists. The bassoon of this era is a not uncomplex instrument to play, and just like the horn of the identical interval, a characteristic is the big selection of tone colors relying on the observe being performed. One thing Mozart makes use of to perfection, and all through the concerto we seen the great vary of colors Jane Gower delivered to the piece, in addition to her deft method with the showier passages. Sure, the concerto mined the devices extra comedian, typically farty, parts, however Gower remained a demure and classy soloist.

After the busy first motion, the place we bought to admire the devices fruity tone, the gradual motion was swish and heat with some beautiful singing tone from the soloist. Then there was a pleasant swagger to the ultimate, together with some deftly vigorous divisions and taking part in filled with character.

After the interval we started with Mozart’s Epistle Sonata No. 4 in Main, a single-movement, characterful and vigorous piece supposed to be used in church. Then got here Sandrina’s scene from the top of Act Two of La finta giardiniera the place she has been deserted in a cave. We started with an intense aria with Clarke’s plangent tone supported by throbbing wind, then seamlessly into an accompanied recitative earlier than the ultimate aria with Clarke pressing and intent.

The formal programme completed with one other symphony, No. 30 this time. The opening motion all crisp vigour with a number of instrumental color, then a dance-like gradual motion with some beautiful element. The sturdy minuet had a trio full of various transferring components and at last a joyfully exuberant finale the place Mozart’s youth was all obvious.