Austria Mozartwoche Salzburg 2024 [4] – Mozart, Reicha, and Michael Haydn: Baborák Ensemble (Radek Baborák [horn], Milan Al-Ashhab, [violin], Martina Bačová [violin, viola], Karel Untermüller [viola], Hana Baboráková [cello], David Pavelka [double bass]). Grosser Saal, Mozarteum, Salzburg, 29.1.2024. (MB)
Mozart, arr. Radek Baborák – Horn Concerto No.4 in E-flat main, KV 495
Anton Reicha – Quintet for horn, string quartet, and double bass in E main, Op.106
Michael Haydn – Horn Concerto in D main, MH 134: Larghetto and Allegro ma non troppo
Mozart, accomplished Süssmayr (ed. Baborák) – Rondo for horn quintet in D main, KV 514
Mozart – Horn Quintet in E-flat main, KV 407
Not fairly often does one have alternative to listen to a chamber live performance led by a horn participant. Nonetheless much less will or not it’s by one of many distinction of Radek Baborák. Nonetheless lower than that may the remainder of the ensemble be of the excellence of the gamers Baborák introduced collectively for this, the fourth of my Mozartwoche performances this yr. Mixing the acquainted and the significantly much less so, it proved a pleasure from starting to finish.
The previous was offered by Mozart’s Fourth Horn Concerto, organized for ensemble by Baborák. Such an ensemble won’t ever fairly sound as if it have been an orchestra, maybe particularly in such acquainted music, but it surely imparted a correct sense of ensemble tutti nonetheless. On the very opening, it might maybe have afforded to play out a little bit extra given the brand new steadiness, however solo taking part in was of such calibre that it mattered not. Phrasing, articulation, dynamic contrasts: all have been achieved with obvious effortlessness, married to profound chamber sensitivity from all in a primary motion of grace, gentle, and shade. Baborák’s personal cadenzas have been fashionable and, at instances, in the most effective sense stunning. Grace characterised the sluggish motion too, its course traced with affection and understanding, gamers taking on a regular basis on this planet however by no means an excessive amount of. The finale was likewise possessed of the form of ‘rightness’ one doesn’t discover, that may be a Mozartian rightness. It was an extra delight, with an extra, foot-stomping shock to return within the cadenza.
Anton Reicha’s Horn Quintet adopted, written about forty years later within the mid-1820s, given right here with its advert libitum double bass. The primary motion revealed an achieved work with lots to carry the curiosity, not least given a efficiency of accomplishment similar to this. There was, no less than to my Romantically inclined thoughts, a poignancy to its historic place within the wake of Mozart and Haydn, as with all such Austro-German music, Beethoven and Schubert included. Some intriguing harmonic turns each made sense and helped make sure the music by no means fairly sounded ‘like’ anybody else’s. The event part’s counterpoint satisfied, Reicha’s preparation for the return maybe much less so. If an editor may need shortened this motion, there was a lot to take pleasure in in its amiable, decidedly non-Beethovenian temperament and course. Likewise within the Lento second motion, although with its personal explicit character. Baborák’s taking part in was splendidly long-breathed, readily complemented by sweet-toned strings, a surprisingly ardent episode retaining all of us on our metaphorical toes. Gentle enjoyable was had with the minuet’s syncopations, a contact of one thing deeper provided within the trio. A sunny finale mirrored a lot of labor and efficiency; I can not think about the latter bettered.
The choice from Michael Haydn’s D main Horn Concerto, MH 134, may need appeared puzzling, in that Larghetto and Allegro non troppo recommended a second and third motion, in flip to preface Mozart’s fragmentary Rondo in D, KV 514. Tempo indications may be deceptive, although, for these have been the truth is the primary and second motion. In any case, the primary took us again to extra Mozartian climes: Mozart’s (Salzburg) world, if not essentially greater than that, albeit with telling factors of contact. This was one other superbly judged efficiency of appreciable grace and, sure, depth, if worn evenly. Concord and maybe not solely that stood nearer, say, to Mozart than to the composer’s brother. Horn taking part in was to die for, with deeply sympathetic string accompaniment. I didn’t miss the total orchestra in any respect. The second motion was maybe extra distinctive, arguably a little bit nearer to Joseph Haydn, although with a number of harmonic touches very a lot Michael’s personal. Mozart’s Rondo sounded each inch the basic looking finale, although with a number of unusual turns probably to be ascribed to its peculiar nature and completion. In the end, although, the sense of ebullience with an implication of fragility have been spot on, and there was no query who the presiding grasp was.
Mozart’s Horn Quintet, clearly with out double bass and with one of many violinists taking over the viola, was arguably the only ‘masterwork’ performed ‘accurately’, however right here it was at most first amongst equals. In any case, the primary motion provided the entire virtues from what had gone earlier than: considered tempo, glorious phrasing and taking part in, a eager sense of chiaroscuro, collegiality, and so forth. It appeared very a lot to penetrate to the guts – in a couple of sense – of the matter; however then, so did every part else. Directness of emotion within the sluggish motion was not at odds with implicit and specific compositional sophistication, removed from it. Likewise, in numerous vein, for the finale: sunny, but by no means fairly with out the implication of one thing darker. Pleasure is a wierd, even troublesome factor in Mozart’s universe, as we additionally heard within the extraordinary encore efficiency of the sluggish motion from the Clarinet Quintet.
Mark Berry
