Piano Concerto No. 12 (Mozart)
Piano Concerto No. 11 (Haydn)
Symphony No. 49 'La Passione' (Haydn)
Camerata Salzburg
Piotr Anderszewski (Piano solo and conductor)
This programme is not merely a functional display of classical works by Mozart and Haydn, but also forms an indirect relation to the passiontide. Mozart's piano concerto was to provide subtle entertainment when theatres were closed during the lenten season of 1783, whereas Haydn's symphony made a dramatic realisation of emotions expressed through the Passion theme. Except the piano concertos, violin first desk led the ensemble without a conductor. This required the players to coordinate through listening to each other attentively and established dialogues by phrasing, but sometimes the produced tone quality was raw and being impatient.
A relaxing start to the divertimento with two horns and strings before turned into an energetic Allegro, which the major and minor keys intertwined like waves. Though the strings could have employed more hairs on the strings for a fuller tone than hurrying along. This later resulted in some abrupt playing during the Adagio and violas had different ideas on tempo coordination. Eventually the band settled down for a more tender and elegant rendition. Horns' callings depicted a lively hunting scene in the second minuet. It unleashed sheer energy by galloping through the presto and able to produce a dramatic contrast of dynamics. Though one still found the down bow attacks rather aggressive in a harsh tone and rather vertical reading of the score.
The lesser use of vibrato among strings in Mozart's piano concerto improved clarity and sustained the line with more direction. Viola's part was more prominent at the rather operatic orchestral introduction. Anderszewski's tempo was on the swift side, his touch was rather muscular and bold but far from an elegant rendition. As a result, the playing was again rather vertically directed and wrong notes were even audibly detected in the scalic patterned cadenza. Strings were impatient and not refine during the ebb and flow of dynamic changes in second movement. Only until reaching the cadenza, Anderszewski switched for a meditative approach by softening his touch on the keyboard and the band responded with some gentle playing. Though strings quickly resumed the aggressive bow attacks in the energetic Allegretto that the produced sound rather harsh and rough. The piano cadenza was strangely inward looking than a technical showcase in contrast.
Featuring Haydn in the second half was more suited to the bodied tone of both the ensemble and pianist. The music carried a certain level of urgency and energy for technical display. Transition into the minor key was actually more elegantly delivered, and the cadenza was better structured in terms of textual progression. Strings' tone was more ringing in the swift and yet majestic second movement. Anderszewski carried the momentum in his playing and direction to aim even under a strong touch. The ebb and flow of emotions was dramatically realised, and still beautifully executed even being bold in style. A witty start to the cadenza alike an improvisation before returning to a dreamy and still state. The last movement was an exotic flair of alla turca with humorous effect and also a virtuosic display. Energy was maintained throughout the wild gallops and precision was achieved for a brilliant technical showcase.
The Passion symphony in turn changed the mood completely from the sunny and heroic state to a sorrowful strings opening. Dramatic contrast of dynamics and emotions were vividly produced, but again needed more time to let the long notes to sing out and a warmer tone than rawness. The second movement marked a tragic negotiation and the ensemble responded seamlessly between parts. It also sustained intensity by energetic bites at entries. The minuet of third movement recalled a gentle but rigid dance in old form. Lower strings produced a rich bodied tone and winds with more solo moments kept the music flowing at a good pace. Tempest returned in the stormy Presto marking with more attacks and bites from the strings, but tuning was not always accurate as they reached higher positions on the fingerboard. As a whole, it gave a rather theatrical depiction of the passion scene and sent the crushing impact in fullness.
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