Tafelmusik does Mozart

[vaneramos]

Last night Tafelmusik Orchestra with guest soloist Robert Levin gave a spooky performance of Mozart’s Concerto for fortepiano no. 24 in C Minor, the highlight of a concert celebrating Mozart’s 250th anniversary year. A reproduction fortepiano stood in historic position at centre stage, facing outward. From central seats, Danny and I saw every facial expression the soloist shared with director Jeanne Lamon and musicians.

The fortepiano sounds thin compared to modern keyboards, requiring orchestral subtlety. This effect suited the dark opening Allegro, which came across ghostly rather than grand. Levin, noted for classical improvisation, provided a diabolical organ-like cadenza. The rest of the movement, transparent chords shifting into shadows, was spine-tingling.

Levin wasn’t the only musician improvising. When clarinets and bassoons introduced a jovial variation in the third movement, Lamon and Levin practically burst out laughing. This lively interaction between musicians is one of the best features of Tafelmusik’s live performances.

The second half of the program proceeded with an improvisational game performed by Levin, and the “Paris” Symphony no. 31 in D Major. This was unfamiliar, but the orchestra’s bold, brilliant expression of the first movement appealed for repeat listening.

The pews at Trinity-St. Paul’s Centre are damn uncomfortable.

Comments

[vaneramos.livejournal.com]

The seats had little pads on them, but the problem was they were so narrow. I don't think a pillow would have helped. This is one situation where having nicely rounded buttocks is a disadvantage.

[leafshimmer.livejournal.com]

That sounds really quite magical. I'm not much of a Mozartian (there are a few early pieces of which I am fond), but the experiment of trying to evoke the improvisatory performance practices of the 18th century would be intriguing and fun to hear. It takes real guts to do that.

My experience with fortepiano recitals has not been all that inspiring. As you said, the instrument tends to sound dull, even flat, to ears accustomed to a post-Romantic era piano. Unlike harpsichord, virginal or clavichord recitals, there aren't really enough differences in the tone to give it its own flavor. Exceptional musicianship in this case seems to have compensated for the shortcomings of the instrument. I heard a really beautifully restored one at the Yale Collection of Historical Instruments on one occasion.

[vaneramos.livejournal.com]

I wasn't particularly inspired by the improvisational game during the second half. During intermission people were invited to write short musical themes on slips of paper and place them in a jar, which was brought to Levin at the beginning of his performance. He selected four that he liked and performed an free fantasy based on them. Besides the fact that it sounded more like Beethoven than Mozart, I found the performance technically impressive but not particularly beautiful.

The cadenzas and flourishes in the concerto were much more interesting. Although they were clearly improvised (as was evidence from Jeanne Lamon's expressions of amusement), he must have had much more experiences with the themes. That part was highly entertaining.

I was actually quite intrigued with the fortepiano. Perhaps hearing it in the context of period instruments and an intimate old church made a difference. And perhaps my experience as a pianist allowed me to relish the distinctions. Danny thought the sound might have been better on the balcony, but I liked the sound and enjoyed watching the interaction between Lamon and Levin so closely.