Thursday October 21, 2010

Orchestra London: Cathedral Series Opener; Park Plays Mozart

by Brian Hay

There's a bit of irony in opening a show that features a work by Mozart with a piece penned by his supposed arch-nemesis, Antonio Salieri. But that's just the group's way of making the program more interesting and providing an opportunity to educate as well as entertain. Salieri didn't kill Mozart and they don't appear to have been enemies either. That point is clarified in Jeffrey Wall's (always) excellent notes. Incidentally, if one really watches the film, 'Amadeus', they'll note that Salieri does a lot of seething and scheming but no actual killing.

Salieri's opera, 'La Grotta di Trofonio', was popular in Vienna about a year before the release of 'Figaro' and the players of Orchestra London made it easy to see why. Under the baton of Conductor Timothy Vernon the players gave the piece a reading that was wonderfully inspired. The work is very much a product of its time but one notable difference is that (at least in this piece) Salieri made more extensive use of brass instruments than many of his (now) more well known contemporaries. Whether that's due to the limitations of the instruments at the time (no valves), availability of players, or both is hard to say. Whatever the case this overture makes considerable use of trumpets and the brass players from Orchestra London (Shawn Spicer and probably Peter Audet) took full advantage of that. The effect was very dramatic.

The second half of the concert began with the Overture from 'Orpheus and Eurydice' by Christoph Willibald Gluck. Gluck is another contemporary of both Mozart and Haydn whose work doesn't always get the recognition it deserves. (That's the trouble with having to coexist alongside a genius of incalculable proportions). The orchestra gave the piece a reading that was truly lovely. The way the orchestra executed the combination of string and wind instruments that form the principle melodic line of 'The Dance of the Blessed Spirits' was sublime.

The work that closed the concert was a reading of the First Symphony by Beethoven. As (Jeffrey) Wall points out this is another work that doesn't quite get the recognition it deserves. In Beethoven's case however, it isn't so much a case of having to coexist alongside a genius as having to endure in the show of his own greatest works. The orchestra delivered the opening segment (which, as Wall points out is unique) beautifully. Their reading of the third movement was so inspired and thunderous I had to double check the program to be sure it was actually a Menuetto. (It was but that's just Beethoven being himself). Their reading of the final movement was thrilling to listen to.

The featured work on the program was the 'A Major' Concerto for Piano and Orchestra by Mozart. This piece opens with one of the most beautiful melodic lines that Mozart put in any of his Piano Concertos. Being Mozart he doesn't introduce it all at once. Part of it is shown by the strings and then taken up by the winds. Even when the full ensemble comes into play it isn't revealed in its entirety. Not immediately anyway—the boy loved to tease his listeners. When the players of the orchestra finally introduced it all the effect was tremendous. When it was replayed a moment later with soloist Angela park finishing it off a wave of greatest beauty washed over the Cathedral and its occupants. That's Mozart.

The tempo that (Timothy) Vernon used was perfect, not to slow or fast and always relaxed. The string players delivered those lovely passages brilliantly. The work from the wind players was simply exquisite. Pianist Angela Park allowed her fingers to glide over the keys. Often her touch seemed as light as a feather making lovely runs of soft notes soar above the work of the ensemble. She played with grace and beauty and allowed the work of the composer to speak for itself. As the performance progressed it became easy to imagine the instrumental sounds as a group of people in conversation politely acknowledging their agreement with one another as each took their turn to speak. Again, that's the genius of Mozart. When a group approaches his work with the sensibilities the players of Orchestra London demonstrated the effect is captivating.

The concert closed with an encore performance of Beethoven's March in C Major. It was a short piece that was delivered with a flourish and a great close for a fabulous show.

This performance took place at St. Paul's Cathedral in London, Ontario on Wednesday October 20, 2010.

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