Mostly Mozart Festival Orchestra – Thierry Fischer, conductor; Martin Helmchen, piano. August 2, 2016.

David Geffen Hall at Lincoln Center.  Orchestra Right (Seat O13, $39.50).

Program

Symphony No. 59 in A major (“Fire”) (c. 1768) by Haydn.

Piano Concerto No. 25 in C major, K. 503 (1786) by Mozart.

Symphony No. 40 in G minor, K. 550 (1788) by Mozart.

Andres Orozco-Estrada, whom we saw a few years ago in Vienna and currently with the Houston Symphony, was originally on the program. He had a back program, and Fischer, of Utah Symphony stood in for him.

My first thoughts were that we have not had a truly “mostly Mozart” program for a while (the “Illuminated Heart” being an unusual exception,) so was rather looking forward to an evening I could simply sit back and enjoy.

To that end the program succeeded greatly.  The two Mozart pieces were reasonably familiar, and the Haydn one easy enough to grasp.

Per the program annotator, many believe that the Fire Symphony was also used for the play “The Conflagration” staged at Eszterhaza in 1774.  The annotator then proceeds to describe each of the movements in some detail: (1) Presto: flamboyant, octave-leaps, bursts, contrasts, furious; (2) Andante o piu tosto Allegretto: ambivalent, unexpected turns, fortissimo horn call; (3) Menuetto: bare texture, major-minor ambiguity, dance with gracefully taper phrases; and (4) Allegro assai: first and last words by wind instruments, military, fiery, blazing scales.  The performance was all that, as long as one remembers we are talking Haydn (and not Beethoven).  I was wondering how all this could be fitted into the 17 minutes stated in the program.  They didn’t, it took a couple of minutes longer.

Both Anne and I noticed the annoying aspect of a few of the string players dominating the rest of the section.  Today it was the concertmaster (called “First Violin Principal” in the program.)  There were times it sounded as if he was the only one playing and the others were simply going through the motion.  Probably because we were sensitized to that, the problem persisted throughout the evening.  I do have to give the orchestra some credit for sounding quite precise.

Mozart’s Piano Concerto No. 25 was completed the day before it was scheduled.  My usual remark about Mozart is I can’t tell a good performance from a great one.  Today’s performance probably also falls into that range.  However, I do have gripes at various times that the lines sounded disjoint (which I don’t ever recall saying), or too much pedaling was used.  At about 30 minutes, it was on the long side for Mozart.  The three movements are Allegro maestoso, Andante, and Allegretto.  The cadenza was by Martin Hecker.  The last movement was in rondo form, if not in name.

This is the first time we saw Helmchen, who looked quite young from where we sat.  Despite my misgivings, it was an enjoyable performance.

The program concluded with Mozart’s 40^th Symphony, one of the three Mozart composed in the span of six weeks during the summer of 1788.  The 35-minute work consists of Molto allegro, Andante, Menuetto: Allegretto, and Allegro assai.  It was one of only two minor symphonies Mozart wrote, it might be considered bleak by musicologists, but I suspected it sounded to most listeners as being sunny, as it did me.

Fischer didn’t have a railing behind the platform, and he didn’t need it as his feet was firmly planted on the ground.  However, his upper body motion could be quite exaggerated at times.  I don’t know how long ago he was called to do the conducting, but the orchestra responded to him well.

Thierry Fischer.

This New York Times article contains a one-paragraph review of the concert.  Both Fischer (“stylish”) and Helmchen (“refined”) got good grades.

We left home at around 5 pm today, traffic was bad, and it was around 7 pm that I parked the car and got to Lincoln Center.  The way back was quite straightforward, and we managed to swing by Newark to pick up CS, returning from a San Francisco trip.