Continued from page 1
Ah, Mozart. The concerto sounded like a dance as much as
Bartók pieces did. Written in
three-movement style of
day, Wolfgang's concerto started "allegro," light and moderately fast, then relaxed in an "andante" second movement, then sped up again for
third movement - in this case "allegretto," accelerating to "presto" for
energetic finale. This translates into "dancing in
parlor, refreshing ourselves with a glass of wine, and then dancing out on
lawn." The concerto was played by an ensemble of strings and winds from
orchestra, with no percussion. The alternation between ensemble play and solo piano was smooth and precise and didn't break
flow of
music. We've all heard Mozart's wonderfully identifiable sound; I describe it as "All Europe in a good mood." I even saw some of
orchestra's musicians swaying to
gentle rhythms when they weren't playing. Mozart will do that to you. In my mind his music evokes elegant gatherings of happy Hapsburg aristocrats who don't care how hungry
even-tempered peasants are.
The Hungarian National Philharmonic Orchestra was formed in 1923 as
Hungarian State Symphony Orchestra. Bartók's "Dance Suite" was commissioned that year in commemoration of
official union of
adjoining cities of Buda and Pest (probably because no one liked
name "Pest"). Zoltán Kocsis became conductor and music director in 1997 after 14 years heading
Budapest Festival Orchestra. More information is available at
Philharmonic's excellent website, www.hunphilharmonic.org.hu/index.asp?lang=EN. This link should get you to
English-language version (the one without all
accent marks).
Hearing
orchestra play Antonin Dvorak's 'Symphony No. 3 in E Flat Major', and reading
program notes, I couldn't help thinking of wine tasting. The Symphony is said to contain influences of Richard Wagner (a really "big" cabernet), and Dvorak's work in general reportedly hints at his admiration for Beethoven (a complex burgundy), but what I tasted most in this piece was
peppery zinfandel of Tchaikovsky. The first movement contained powerful horns and sweeping strings, and with its constant shifts from intense to calm and back, it reminded me of
1812 Overture without
cannons. The movement ended big with a rather climactic final chord reminiscent of
Swan Lake ballet suite. Like wine tasting, it's all rather subjective: "Did you taste
chocolate and blackberries in
finish?" Yeah.
During
pause, Maestro Kocsis (now only conducting) leaned back against
podium rail
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