L. Mozart, W. A. Mozart
The Camerata Salzburg celebrated Leopold Mozart‘s 300th birthday this evening with an amusing concert in the Mozarteum with Andreas Spering conducting. Eclipsed in music history by his son, Wolfgang Amadé, in his day Leopold was a highly-celebrated pedagogue, conductor, and violinist – but of course his son (and daughter Nannerl) learned well
The concert opened with Symphony in B-flat, a fairly conventional work of its period. A superlative chamber orchestra, the Camerata has a fullness of tone that magnified the work (the fact that the orchestra avoided the faddish trend of using out-of-tune period instruments certainly also helped). Where Leopold Mozart excelled, however, was in the introduction of solo instruments to the chamber ensemble, so in the case of the second piece on the program – a concerto for two horns in E-flat – the two hornists playfully danced around the continuo (I wasn’t quite sure they were fully in tune with each other, though).
All of this playfulness, however, was nothing compared to what followed: a selection of short ditties by a ten-year-old Wolfgang Amadé, mostly snarky variations on themes by other composers that the younger Mozart made fun of in something known as his Gallimathias Musicum (Quodlibet) – a whole lot of whimsy, which the orchestra hammed up (including by walking off the stage and wandering around the hall). Some of it was warped, some syncopated, some sung, some made to sound like bagpipes, and God Save the King performed with different instruments going along at different speeds. Leopold must have been in equal measures proud of and horrified by his progeny.
After the intermission, we returned to Leopold, now his Serenade in D-flat. The initial movements for the continuo alone once again reverted to standard (albeit good standard), but then followed several movements in which Leopold seems to have incorporated his concerti for natural trumpet and for tenor trombone. Once again, the solo instrument added immensely to the work, darting in and out of the continuo and playing with conventions (neither of these instruments had reached their modern forms yet, so they were not yet standard orchestral fare). These two solo instruments were not modern (unclear from my seat was whether they were original from the period or models) and – especially the natural trumpet – are harder to play accurately. But aside from a few off-notes, they blended well. (The concert materials, including on line, did not identify the soloists by name – I do not know if they might have been listed in the program, as they ran completely out of programs and I and those seated around me did not manage to find any although some people in the audience clearly had them).