San Diego’s Copley Symphony Hall resounded with the noble key of C major this weekend as San Diego Symphony Music Director Jahja Ling provided yet another example of his creative sense of programming. Music by living Pulitzer Prize winning composer Ellen Taaffe Zwilich, along with Mozart’s Piano Concerto no. 25 in C major performed by renowned pianist Richard Goode, comprised a winning prelude to the evening’s monumental masterwork, Schubert’s Symphony no. 9, the “Great” C major.
At only four minutes’ length, Zwilich’s Upbeat! made its debut with the orchestra. Zwilich draws upon her background as a violinist by brilliantly quoting from the Preludio to J.S. Bach’s Solo Violin Partita in E major. The genius of Bach as demonstrated by the virtuosity required to play the piece heightens the skills shown by Zwilich in her deft use of animated rhythms and keen familiarity with the technical possibilities of her favored instrument. The composer describes the piece as a buoyant concert opener, intended to energize the audience. Upbeat! not only delivers on that premise, but also provides an active workout for the strings, the violin sections especially. Playing strains of solo music en masse is always a challenge, as demonstrated, for example, in Rossini’s String Sonatas, and the San Diego strings performed with remarkable togetherness. Adding to the overall energy of the atmosphere, Zwilich painted her lighthearted landscape with tones of Bernstein and Stravinsky.
Goode, who has professed a great fondness for Mozart’s 25th Concerto, says the work contains some of “the greatest moments that I know in Mozart”. Though the piece has been neglected in comparison with the other concerti of that period, and in some cases has been described in lackluster terms, Goode has said he finds the work in some ways revolutionary and he has diverged from the dearth of critical praise to give the work the loving attention it deserves.
Known for his warm, sensitive approach to the classics, Goode crafted a debut performance filled with richness and clarity. He shaped phrases with delicacy, always keenly aware of the dialogue between his instrument and the orchestra. In the opening Allegro, which embodies the term maestoso in its every phrase (and shares an undeniable bond with Mozart’s Symphony no. 34, also in C major), Goode’s fingers were at one with the keyboard, hardly lifting off the keys, as if guided by an angel who happened to be communicating directly with Mozart himself. In the Andante second movement, he made the most of the dovetailing between the piano and woodwinds, leading to the Allegretto, which sparkled with rapid-fire effervescence and razor sharp precision.
With its majestic C major opening, the concerto resembles the overture to Mozart’s later opera Così fan tutte as much as Don Giovanni, which the composer was also working on during the period in which he wrote this concerto. Ling accompanied the soloist with his usual attention to detail, using his keen Mozartean sensibilities to emphasize the dramatic and operatic aspects of the piece.