February 13, 2011 § Leave a comment
By Rebecca Liao
On most weekdays, you can probably hear a collective groan on Highway 80 from commuters travelling to and from the Sacramento area. Chances are, they just heard KDFC’s Dianne Nicolini announce a perennial listener favorite was coming up, “But first, here’s Haydn (or his brother, son, nephew, second cousin twice-removed)!” October 28, however, braving the commuter soundtrack to drive up (or simply staying put) will be worth it because the Mozarteum Orchestra Salzburg is presenting a piece that is both by Haydn and a favorite.
The 168-year old orchestra is one of the premier symphony orchestras in Austria. Focusing on music from the Viennese Classical School, it presents the Mozart Matinees at the annual Salzburg Festival. Its musical sensibilities are particularly well-rounded due to the variety of its repertoire: in the pit for musicals and operas for the Salzburg Landestheater, great symphonic works from all eras for the Salzburg Kulturvereinigung in the Large Festival Hall, and a thematic concert series in the concert hall of the Mozarteum. The orchestra has had all glowing adjectives attached to its name at one time or other. In the end, though, it is simply very Austrian—more sensitive and less heavy-handed than the Germans without any sacrifice in musicianship.
The evening will begin with Mozart’s overture to The Marriage of Figaro, whose opening theme, incidentally, also opens the musical lock on the door to the edible garden in Willie Wonka and the Chocolate Factory. (Music Director Ivor Bolton looks better in a tux than Gene Wilder did.) It will close with Schubert’s Symphony No. 9 in C major, also known as “The Great.”
Now what about that Haydn favorite? The Cello Concerto No. 1 in C major will feature Johannes Moser as both the soloist and the concert’s way of fulfilling the orchestra’s motto, “The cutting edge of classical music.” Moser may be our next Yo-Yo Ma, not because they play with similar styles, but because they are both enthusiastic ambassadors for classical music. Where Ma pairs with pop artists for crossover recordings, Moser promotes the Youtube Symphony Orchestra and participates in outreach activities with children and young adults across US campuses, introducing connoisseurs of synthetic sound to prepared and toy cellos and pianos. Performing contemporary pieces is his signature. Even Pierre Boulez sings his praises, and he is a much tougher customer than Bobby McFerrin.
There is no doubting Moser’s musical heft. His tone is not quite commanding, but his phrasing flows from a seeming sixth sense of the way musical figures relate to each other and of how to convince the listener that he is playing a piece as it was intended to be played. The cello becomes a living being in and of itself; we forget there is a musician behind its sound. Is it something we have never heard before? Not really, but after Chopinzee’s appearance last month (sorry, Lang Lang), shouldn’t we see what youth is really capable of?
A version of this article appeared on sfcv.org.