Mozart, Mendelssohn, Tschaikowsky
The Bruno Walter Symphony Orchestra, comprising musicians from Vienna, Bratislava, and Budapest, under its founder and music director Jack Martin Händler, gives an annual concert in the Musikverein near the date of the anniversary of the liberation of Auschwitz-Birkenau, with welcome from the Chair of the International Holocaust Remembrance Alliance. I was invited once before (I am pretty sure while I still lived in Kosovo, which I left in 2008, so no later than that year), and was kindly invited again this afternoon.
On the program for the 75th anniversary this year: Wolfgang Amadé Mozart and Pyotr Ilyich Tschaikowsky (unclear why these two were selected, and not – say – some composer the Germans murdered in Auschwitz such as Viktor Ullman, for example). I should probably say, for the record, that I actually do like both composers. It’s only that their music is over-performed and over-rated, so aside from concerts like these I have reduced my intake (I say as someone who works in Salzburg, where Mozart-worship is a cult, and also as someone who used to live in Moscow, where they do the same for Tschaikowsky). But I suppose my reduced intake means I can also deal with their music when it does appear on special programs like this afternoon.
The piano duo (and married couple) Sivan Silver and Gil Garburg joined the orchestra for Mozart’s Concerto #10 for Two Pianos and Orchestra. I heard them perform a few years ago in Salzburg, at that time doing a Mendelssohn concerto for two pianos. While they played wonderfully together back then, the Mendelssohn concerto, a youthful work, sounded too derivative of Mozart and not particularly original (but Felix Mendelssohn was still a child when he wrote it for himself to perform with his sister Fanny, and which he left unpublished). So it was nice to hear an actual Mozart concerto, and one written relatively later in his short life (also written for Wolfgang to perform with his sister Nannerl).
I was not previously familiar with this work, and so got to experience it in these conditions fresh. And fresh it was in the hands of Silver and Garburg, who performed on two interlocking pianos (with lids removed, so both of their sounds emerged from the same place). They looked across the strings lovingly at each other as they tossed their lines back and forth full of life – indeed a celebration of life that started to make sense as an opener for a Holocaust remembrance concert. The chamber orchestra accompaniment, under Händler’s light direction, was playful, dashing among and between the piano lines. This was Mozart at his finest.
Silver and Garburg made the bridge to the concert’s second half by providing an encore: sitting at one keyboard, they performed a four-handed rendition of the scherzo from Mendelssohn‘s incidental music to A Midsummer Night’s Dream. This captured the Mozartian influence, with the dancelike rhythms leading naturally to Tschaikowsky.
The Tschaikowsky 6th Symphony after the intermission. I am not quite sure who the Bruno Walter Symphony Orchestra’s members are. They do enough concerts per year in their three core cities (and some tours) to make me think they are a semi-permanent professional orchestra, but it seemed unclear in their literature (they were founded as an ad hoc orchestra for a music festival in 2004 and stayed together). One problem I have with Tschaikowsky as a composer is that his later works – the ones most often performed – are insufficiently Russian, and other European composers did western music better (I actually wouldn’t mind if his quite good first three symphonies, for example, were MORE often performed, but they are usually overlooked). But Händler and the orchestra this afternoon treated the work based on its western inspiration rather than as a Russian symphony, and this idiom worked. There was one (excellent) exception to this: Händler, born in Bratislava and carrying with him the central European traditions, actually trained at the Moscow Conservatory and so would have brought back with him an ear for Russian sound, and in this case he had the brass – who otherwise played like central Europeans – interject with a bitter Russian technique and sound for the first and fourth movements, adding bite to these movements, making the lively dances have sinister inclinations. This was intelligent and moving. The fourth movement then slowly, and appropriately, faded into oblivion.