|
Please note: Throughout Classical New Jersey Society reviews some words are found preceded by an asterisk (*). This indicates that the word is defined or discussed in the IOW (In Other Words) section of our website. If you are looking for a special definition or discussion, click on the alpha-clickbar below or the actual word, if it is hyperlinked. A | B | C | D | E | F | G | H-I | J | K | L | M | N | O | P-Q | R | S | T | U | V | W | X-Y-Z |
This
is an online only review - no other format is available.
Permission
is granted to print and distribute this review in any format.
Authentic
vs. practical
Mozart's
right brain
Sunday, January 29, 2006
By Paul M. Somers
New Jersey Symphony Orchestra. "Many Faces of Mozart Festival." Mozart the Pianist, Vladimir Feltsman (piano/conductor). Concert Rondo in D, K. 382; Symphony in G minor, K. 183; Eine kleine Nachtmusik, K. 625; Piano Concerto no. 24 in C minor, K. 491. State Theatre, New Brunswick.
To bring the "Many Faces of Mozart Festival" came to a close, Vladimir Feltsman played the C minor Piano Concerto, K. 491. It is a dark work well beyond the superficiality of *Sturm und Drang, reaching to the borders of *Romanticism. Feltsman, who always gives off an aura of asceticism, kept the music from going all the way into that still nascent realm.
His perspective as both pianist and conductor prove to be filled with clearly considered balance and attacks. His traversal of the "Little G minor", K. 183, was virile. The classic Sturm und Drang mood was gained through strong accents which revealed the rhythmic motives which are the underpinning of the four movements. The woodwind solos were strong, highlighting Mozart's strong use of their colorations.
Good old Eine kleine Nachtmusik was crisp and clear, if not revisited in any striking manner. Feltsman had the strings stand then, instead of bowing, he walked off stage, leaving it to the players alone. It was a gesture which recognized that they probably could have played it without him, and from memory to boot! Yet one had to ascribe the tightness of the ensemble to his hands.
The concert included a flawed experiment. The Concert-Rondo in D, K. 382 was performed twice - once with Feltsman at the fortepiano and once with him at a modern Steinway concert grand. If the idea was to contrast the two stages of piano technology, then the fortepiano should have been accompanied by an early music group playing unaltered instruments. As it was, no matter how authentically "early" the players tried to sound, they still overpowered the intimate fortepiano. When they played it with a modern piano, it just emphasized the point that not everything Mozart composed was a gem. What a boring piece, relying on one less chord than classic rock 'n' roll. Placed as it was within a program of dynamic, first-rate Mozart played very well indeed, the Concert Rondo was flat-out boring.
The pre-concert Festival Prelude included Feltsman Paul Ostrovsky playing the Sonata on C major for piano duet. Even in the large spaces of the State Theater, the intimacy was palpable.
Joseph Horowitz also engaged Feltsman and Ostrovsky in conversation about the two types of piano. It was instructive, though much of what was said also appeared in a conversation between Horowitz and Feltsman printed in the program book.