Stravinsky, Mozart, Tschaikowsky
Mozart in the Mozarteum this evening kicked off August at the Salzburg Festival, along with some of his admirers.
Pinchas Zukerman led the Camerata Salzburg on an intelligent chamber music course. Rather than jumping in with Mozart and building, he started with the most modern piece on the program: Igor Stravinsky’s Concerto for String Orchestra. Although a piece from his neo-classical period, this was only Mozartean in form. Stravinsky’s harmonics and syncopations made its mid-20th-century provenance clear. For a short work, Stravinsky stripped out the nonsense and replaced it with charm, each strange harmony of syncopation coming unexpectedly but in just the right places.
Hearing that Stravinsky work first before anything by Mozart meant not seeing the Mozartean influence in Stravinsky, but rather hearing the first work by Mozart as a fore-runner of the modern. Mozart’s Violin Concerto #5 had its own amusements, considering its 18th-century origin. Zukerman, who picked up his violin to play the solos while conducting, intentionally did not show a warm tone, but rather propelled the music robustly. If Stravinsky had given us a modern reinterpretation of classical form, Mozart, as performed here, gave us a glimpse of the modern from the classical period itself.
After the intermission, Mozart’s Serenade #6 – Serenata Nocturna – sounded more stereotypically Mozartean, both in terms of its more traditional harmonics and rhythms, and also for its churlish humor: Mozart oddly scored a bass as part of the concertino with solo lines, and added a flamboyant tympani to a chamber string orchestra.
The concert concluded with Tschaikowsky’s Serenade for Strings, written as a hommage to Mozart, Tschaikowsky’s favorite composer. But where Tschaikowsky called for the “largest possible” string orchestra (essentially the string section of a full symphony orchestra), Zukerman kept only the core members of the Camerata Salzburg on stage. A chamber performance of this work emphasized many of the delicate nuances that get lost, but these performers could still fill the hall with sound during the larger portions. A rousing end.