When a connection between a conductor, pianist, orchestra and a single composer aligns, the results can be so special that sometimes words insufficiently describe this synergy. The longevity of such a musical fraternity between Jean Efflam-Bavouzet, Gábor Takács-Nagy and Manchester Camerata in their Mozart piano concerto cycle has been impressive for both its quality and consistency.
In their collaboration – branded under the title “Mozart, made in Manchester”, dedicating each concert to just a single composer, something special was saved for this final concert, concluding with the concertos for multiple pianos. Every season opener has a special quality, but this slightly bittersweet concert marked a beginning and an end; however this was tempered with the pleasure on show from first note to last.
The two halves of the concert had the same format: overture, concert rondo, multiple concerto. Opening with the overture to La finta semplice, Takács-Nagy’s attention to detail was remarkable. The balance, awareness of textures, timbres and variety of articulation in the strings made this less well known overture completely engaging and enthralling, its three sections brimming with contrasts in dynamics, tempi and colouring which almost made it a symphony in miniature, the perfect curtain raiser.
A rarity in performance, the Rondo in A major K386 was next. Playing on his own Yamaha concert grand, the connection between Bavouzet and the piano really came across, knowing every nuance of the instrument to bring out a truly personal rendition. In this more lyrical work, every ornament and embellishment enhanced the melodic line with sophistication. The gentle rubato was natural, not just in Bavouzet’s playing, but in the Camerata too which made for an expressive rendition.
Joining the orchestra and Bavouzet in the Concerto no. 10 in E flat major for two pianos K365 was Bavouzet’s wife Andrea Nemecz. What became immediately obvious was that although Nemecz was playing another Yamaha grand there was a marked difference in tone and articulation. Both pianos had highly individual voices, but their musical characters worked beautifully together. The interplay within the first movement was playful, while in the central slow movement the dialogue between them unfolded organically. The final movement was so enjoyable, the minor section more driven which brought more emotion to this completely endearing performance.
The second half started with the overture to Idomeneo. Being bold, strong and robust Takács-Nagy and the orchestra showed just how many other expressive possibilities there are in Mozart. The elegant and courtly Rondo in D major K382 followed in which Bavouzet celebrated Mozart’s ingenuity in a witty, charming performance.
Finally came the Concerto no. 7 in F major for three pianos K242. What a wonderful way to end not only this cycle but the entire evening. Joining Bavouzet and Nemecz was Rose McLachlan. Written for the Lodron family, the three parts are unequal in terms of difficulty; however, despite Bavouzet taking the most challenging part himself, he sympathetically allowed the other pianists to have their moments too when Mozart’s writing permitted them. McLaughlin's piano had a much brighter tone than her colleagues, but this emphasised just how well the three of them worked together, not only as pianists but with Takács-Nagy and Manchester Camerata in what was a positively jubilant performance. Sheer delight!
