This concert concluded Maxim Vengerov and the Orpheus Chamber Orchestra’s two-night traversal of Mozart’s complete works for violin and orchestra, the series marking the official start of the violinist’s three-year “Perspective” series at Carnegie Hall.
The first half of the program featured two dramatically different violin concertos, nos. 2 and 5. Written in 1775, when Mozart was 19, the two works illustrate his stylistic evolution within the span of a few months. While the less often heard Second demands substantial skill and delicacy from the soloist, it is a largely transitional work – in both the composer’s oeuvre and in the development of the genre. The contrasting sections between soloist and orchestra in the outer movements echo the Baroque concertos of the early 18th century, while the gently flowing melody of the central Andante reflects the emerging early Romantic style.
Occasionally turning to direct the usually conductorless Orpheus, Vengerov stood centerstage in front of the orchestra during the attractively spontaneous performance of the Second, his playing consistently fluid and elegant. The slow movement was delicately phrased and the finale displayed an attractive lightness of touch. The response of the Orpheus was flexible, stylish and smiling throughout.
Whereas the Second shows Mozart elaborating on a well-known formula, what is arguably his most famous violin concerto, the highly inventive and dramatic Fifth, nicknamed the “Turkish”, is replete with surprising turns and unexpected folkdance melodies. The ethereal middle movement so mystified Salzburg concertmaster Antonio Brunetti, that Mozart created a substitute version (Adagio, K261) for him. With firm support from the Orpheus players, Vengerov offered an outstanding account of the popular K219 – bold and expressive in the opening movement, sweet and tenderly poetic in the almost meditative Adagio, and sparkling in the contrasting sections of the stately Rondo finale.
Most enjoyable of all was the inspired rendition of the Sinfonia Concertante in E flat major. Frequently described as the greatest of Mozart’s works for violin and orchestra, overshadowing the earlier five concertos, the piece features both violin and viola as soloists and merges the concerto form with the symphonic. Taking on the viola role was Lawrence Power, very much the equal of Vengerov, the fuller, more burnished sound of his instrument contrasting with the violin’s brighter, more sparkling tone. Delivered with sensibility and sentiment, their stunning interpretation welled over with the joy of music-making. Following a stately opening movement, the gloriously melancholy slow movement featured serenely beautiful interplay between the two soloists, their flexibility and rapport most evident in the cadenza. With alert accompaniment from the Orpheus players, the gallant Presto finale came to life, completing the performance to perfection. In response to the audience’s enthusiastic and extended applause, the orchestra and soloists offered an equally joyous replay of the final movement as an encore.
