Wiener Virtuosen, Musikverein Brahms Hall

Boccherini, Schubert, Mozart, Françaix

The Wiener Virtuosen, musicians from the Philharmonic, brought playful chamber music surrounding moodier songs to the Musikverein’s small Brahms Hall this evening.  

Luigi Boccherini‘s Pastorale, Grave, e Fandango established a pleasant atmosphere, one dance-like melody building on the next, until reaching the fadango, when Boccherini let loose to have the chamber ensemble imitate a baroque guitar, moving the plucking and the thumping and the riffs from one instrument to the next.  The audience practically jumped out of its seats to dance along.  Pass the castinets!

Luca Pisaroni, a protege (and subsequently also son-in-law) of Thomas Hampson joined the ensemble for a series of songs by Franz Schubert, orchestrated variously by Johannes Brahms, Anton von Webern, Max Reger, and Felix Mottl.  The orchestrations served to add extra warmth and color to the music, in ways that a piano could not do, drawing out the emotion further, especially considering Pisaroni’s own voice was full and round, amply supported by a deep baritone.  While Pisaroni did not necessarily wear all of his emotions on his sleeve (in contrast, say, to Dietrich Fischer-Dieskau, the master of this Fach), these settings allowed the songs to speak clearly for themselves: MemnonIhr BildAn die MusikDer Tod und das MädchenAn Schwager KronosLitanei auf das Fest Allerseelen, and finally Erlkönig.

While Pisaroni did have a gorgeous deep baritone, his voice unfortunately did bottom out, lacking a true bass.  This became exposed in the second half of the concert with songs composed by Wolfgang Amadé Mozart for bass vocalist: Mentre ti lascio, o figliaCosì dunque tradisci… aspri rimorsi atroci (written for the bass who premiered the role of Osmin in Entführung), and Per questa bella mano (written for the bass who premiered Sarastro in Zauberflöte).  The baritone registers were fine – the bass not so much (Pisaroni hit the deep notes, just weakly).  More Schubert might have helped.  Nevertheless, he displayed the talent and presence that had attracted Hampson’s attention – and Hampson’s Liederabende are always elegant affairs.

The concert concluded with a more peculiar work by Jean Françaix, a French composer who obviously drew inspiration from Vienna for his Octet for Clarinet, Horn, Bassoon, two Violins, Viola, Cello, and Bass (premiered in this hall in 1972).  The program notes said the composer had sought to update Schubert in a modern idiom.  I honestly heard very little Schubert, but little Viennese lilts did appear throughout, especially the parodies of Viennese waltzes in the fourth movement.  And while the jokes hit home with this Viennese audience, it was just amusement without much substance.  Another bookend for the Boccherini perhaps, but not at the same level.

Mozarteum Orchestra Salzburg, Großes Festspielhaus

Khachaturian, Rimsky-Korsakov

Middle Eastern-inspired music filled Salzburg’s Great Festival House this evening, presented by the Mozarteum Orchestra under the young Spanish guest conductor Antonio Méndez.

Violinist Alina Pogostkina (born in the Soviet Union, her violinist parents left after it collapsed to begin a new life in Germany as street musicians, which is how she got her start) joined the orchestra for Aram Khachaturyan‘s violin concerto.  She may not have fully warmed up before coming on stage, as the sounds that initially emerged from her instrument were weak and halting, even though the music itself requires a robust and somewhat edgy opening.  Méndez noticed, and quickly dialed down the orchestra to not overwhelm her.  As her sound warmed (although it never became completely full), the orchestra came back up to a normal level.

I’m not convinced she ever quite captured the rawness of this work.  The orchestra did, however.  Although not scored for duduks, it could have been: the most quintessential of Armenian instruments made its presence felt in the music even without being in the score.  The orchestra painted a journey across the low Caucasus, with highly evocative playing.

The journey south deeper into the Middle East continued with Nikolai Rimsky-Korsakov‘s tone poem Scheherazade.  Méndez did not magnify the sounds, but pulled out individual lines and wove them together.  Not big drama, but lots of little touches.  Both halves of the concert presented especially fine playing by the bassoon soloist in particular, and also the first chair oboe and clarinet.