Exquisite Mozart from Steven Osborne with the Ulster Orchestra

The name Coleridge-Taylor has appeared several times recently in Ulster Orchestra programming, showcasing the works of both Samuel and his daughter Avril. Tonight was the turn of the father in his 1898 Ballade. While there is no programmatic narrative, the work is emotional, stormy and romantic, showing the influence of both Wagner and Elgar. Conductor David Danzmayr made the most of the work’s expressive possibilities. The opening was turbulent and impassioned. The more lyrical episodes were handled with sensitivity, gentle rubato and subtly varied dynamics made for some fine moments. The rich string sonorities had a warmth and velvety tone, but were at times overshadowed by the brass.

Joining the orchestra for Mozart’s final piano concerto was Steven Osborne. Having recently heard him in Manchester in Messiaen’s Des Canyons aux étoiles it was a delight to hear him once again, albeit in different repertoire. Osborne didn’t disappoint, giving a stylish performance. If not a little speedy, he made the quicker tempi suit his phrasing. The first subject of the Allegro had crisp dotted rhythms, which at this speed contrasted with the delicately articulated second subject. In the development section, Danzmayr made the most of the rests bringing a little drama to this gentile concerto. Mozart’s cadenza had virtuosity and modesty in equal measure in Osborne’s hands.

The Larghetto was again brisk, but Osborne commanded the music. The range of colour he cajoled from the Ulster Hall’s Steinway was remarkable; with modest changes of dynamics and eloquent phrasing he made simple music highly expressive. In the closing Allegro there was sheer sophistication; Osborne had carefully considered the rondo theme, ensuring each repetition had a different quality about it, whether it was colour, phrasing or articulation, beautifully executed.

Osborne played with technical perfection, exploring every expressive opportunity of the concerto, adding stylistic embellishments. The partnership between conductor and soloist created a dialogue in a poised performance. Not one to disappoint, an encore followed: Beethoven’s Bagatelle Op.126 no.3, an ideal follow-on to the Mozart. 

Mendelssohn’s Scottish Symphony completed the evening, a good performance with some attention to detail; however, there were moments that didn’t quite reach the peaks of the Highlands. Danzmayr certainly knows how to bring contrast between the Andante con moto and Allegro un poco agitato of the first movement, stepping up the momentum, however on occasion the dynamics were a little too similar. The Vivace non troppo of the second movement was exciting, and there was some superb playing from the principal clarinet. Echoing the simplicity of the Mozart slow movement, there was a restraint in the Adagio which was highly effective. The final movement was driven and Danzmayr handled the constantly changing textures with relative ease, but it lacked a crispness in the articulation which misted things slightly. Danzmayr kept the string vibrato light throughout, just adding a little colour when needed, but insufficiently so to shine through. The orchestral balance was mostly proportionate, but as in the Coleridge Taylor, the brass slightly overpowered a number of times. 

This was a balanced programme and a pleasurable concert with minor details that detracted. Osborne was the clear star whose performance made the evening.