Austria Mozartwoche Salzburg 2024 [3] – Mozart and Salieri: Emmanuel Pahud (flute), Camerata Salzburg / François Leleux (oboe/conductor). Grosser Saal, Mozarteum, Salzburg, 28.1.2024. (MB)
Mozart – Die Zauberflöte, KV 620, Overture; Andante for flute and orchestra in C main, KV 315/285e; Rondo for flute and orchestra in C main, KV 373/285c (arr. Pahud); Symphony no.38 in D main, KV 504, ‘Prague’
Salieri – Concerto for flute and oboe in C main
This was an attention-grabbing live performance of music by Mozart and Salieri, the lesser-known music faring higher for me than the celebrated symphony on the programme. There may be nothing uncommon in that, in fact, particularly in repertoire by which very totally different aesthetics are in play — and in the end, it might be of larger significance to grant a possibility to hardly ever heard music than to current a Prague Symphony to rival Karl Böhm or Daniel Barenboim.
The Magic Flute Overture, well-known although it might be, stood someplace in between. Tempi have been apt and François Leleux took evident care with components of Camerata Salzburg’s shading. The efficiency was clear and directed, if considerably excitable, even fierce. Higher that, although, than the po-faced puritanism of many within the Anglo-American wing of the ‘authenticke’ brigade. I sensed an thought – and probably the most any of us can have is an thought – of the eighteenth-century theatre, although it was troublesome to heat to the astringent string tone, worlds away from Sándor Végh. Salzburg woodwind, nonetheless, sounded splendid, as they did all through.
There adopted two items for solo flute and orchestra, for which Emmanuel Pahud joined Leleux and Camerata Salzburg. I can not declare to be an excellent fan of the lone Andante, KV 315/285e, in all probability another sluggish motion for the G main Flute Concerto, KV 313/285c, nevertheless it was definitely performed nicely right here, with an Italianate long-breathedness that Salieri would certainly have admired too. That mentioned, a way of the ballet – to my ears – can be suggestive of French music. (Suppose, for example, of Gluck’s ‘Dance of the Blessed Spirits’.) Nothing incorrect with that: Mozart typically blends totally different stylistic influences. It isn’t all the time clear to me, although, fairly how these totally different traits come collectively. Pahud’s association of the C main Rondo for Violin and Orchestra, KV 373/285c, clearly struck a word of recognition among the many viewers. Hand on coronary heart, do I feel it really works as nicely for the flute as for the violin? No, nevertheless it provides new repertoire for a solo instrument much less blessed (although hardly with out blessings) and, arguably, larger intimacy and sensuality. Occasional solo ornamentation was all the time tasteful.
Leleux collected his oboe, while persevering with to conduct, for Salieri’s Concerto for Flute and Oboe. The primary motion’s opening tutti introduced each a special voice and a recognisable sense, as soon as once more, of theatre. The 2 solo devices’ duetting enhanced that impression of opera. Echo results amused some within the viewers: they have been nicely accomplished, if with diminishing returns. I used to be stunned by the motivic insistence of some passages, however then I suppose we should always recall Salieri was a instructor of Beethoven. At different occasions, the orchestral half was extra rhetorical, once more respiration the world of the theatre. The sluggish motion was charming sufficient, if with out the memorability of even lesser Mozart (or Haydn, for that matter). I used to be not all the time satisfied by its twists and turns however remained grateful for the chance to listen to it in any respect. Right here, as elsewhere, Heinz Holliger’s cadenzas supplied one thing new but in holding. The finale supplied a number of surprises, although I struggled typically – probably labouring below an aesthetic an excessive amount of derived from Mozart and Haydn – to grasp their motivation. A sudden highlight for the violas, for example, was intriguing, however in the end the motion remained considerably four-square. As an encore, Leleux and Pahud performed, with out orchestra, the encounter between Papageno and Monastatos from Magic Flute.
And so, on to the Prague, its first motion introduction rhetorical, even theatrical, somewhat than a harbinger of a notably symphonic efficiency. It was definitely stuffed with incident and notes continued to fly off the web page throughout the primary Allegro, whose hallmark, mild distinction for the second topic however, was ebullience: very a lot a D main for (pure) trumpets and drums. Though pleasant sufficient in its approach, it felt a bit of lengthy, particularly given the exposition repeat, for one thing that appeared extra inclined in direction of the early ‘sinfonia’ than the normal Austro-German symphony. The Andante flowed shortly, as is now trendy. It was equally robust in gesture, weaker in total line. Finally, it appeared extra a set of episodes than what now we have come to count on. The finale labored finest for me, if nonetheless missing a robust sufficient sense of concord. Melodic occasions tumbled forth and sterner passages had an plain drama to them, typically blazingly so. In context, observing the repeat appeared questionable: once more making the motion over-long for Leleux’s method in efficiency.
Mark Berry
