Hoffmann, Beethoven, Chopin, Haydn
A triumphant final subscription concert of the season had the Mozarteum Orchestra sounding absolutely ebullient this evening – maybe the best I have heard this orchestra sound since I moved to Salzburg four years ago.
The Orchestra, wrapping up its first season with its chief conductor Riccardo Minasi, was in its element in the Mozarteum’s Great Hall, performing music by ETA Hoffmann (!), Ludwig van Beethoven, and Joseph Haydn. Minasi tends to conduct things a tad fast and loud, but it worked with this concert, and the orchestra members looked up at him with broad smiles and then poured their enthusiasm into their instruments. They all sounded great – although I’d have to single out the oboist especially.
The poet ETA Hoffmann did a bit of everything artistic, including compose music. His opera Undine was successful and much admired by Carl Maria von Weber (and inspired a bit of Weber’s Freischütz), but quickly fell out of the repertory. Minasi dusted off the overture to open the concert full of drama and verve. This nicely set the mood for Beethoven’s Fourth Piano Concerto, for which they also emphasized that composer’s sense of drama. This concerto had its premiere at the same concert where Beethoven also premiered his fifth and sixth symphonies, Choral Fantasy, and several parts of his Mass in C – and it was supposed to be a somewhat lighter foil for all of that (indeed it probably was), but nevertheless it is still Beethoven, so always room for melodrama. Tonight’s soloist, the Vienna-based Japanese pianist Yoko Kikuchi (a last-minute substitution – the program and website still show the original ill pianist) was very good, but even she was going along for the ride, with the Orchestra and its fine solo lines soaring off the stage. (Kikuchi added a solo encore by Chopin, to demonstrate she could do this without orchestra, although it was less-exciting without the orchestra.)
After the intermission came Haydn’s Symphony #104, his final one. It’s also dramatic, but Haydn scattered in it many musical jokes (odd pauses, instrumental combinations, dynamic changes, and missing harmonics), which Minasi and the Orchestra emphasized here as well, bringing such joy to the stage. At the end of the performance, the audience erupted. No one even budged – wave after wave of applause came and the audience stayed fixed in our seats. The Orchestra had not planned an encore, but was forced to repeat much of the final movement or else we might still be sitting there applauding. Fantastic.