#MOZART250: Rachel Podger plays Mozart. Rachel Podger (violin); The Mozartists / Ian Page (conductor). Wigmore Hall, Londo, 18.06.2024 (CC)
Haydn Symphony No. 66 in B flat (1775/6)
Mozart Violin Concertos: No. 2 in D, K 211 (1775); No. 5 in A, K 219. Symphony in D, K 196, 121/207a,
… and so to 1775, the first of two concerts featuring the violin concertos (the second is with Mullova in November at Cadogan Hall). In between comes Opera in 1775, also at Cadogan Hall, in mid-September including music from J. C. Bach’s Lucio Silla and a Haydn opera.
First, though, a concert of repertoire both little-known and really rather unknown. With Haydn, a symphony without nickname is a symphony without popularity usually, and such is the case with Symphony No. 66 in B flat. We are most definitely in ‘Sturm und Drang’ territory: the symphony begins with an explosion. Contrasts are marked, and all credit to the Mozartists under Ian Page for the cleanliness of execution. No harpsichord continuo in this concert, so there was an opportunity for a larger orchestra. The opening becomes a punctuating chord, against which Page found the most delicious pianissimi, and a potent shift to the minor. The Adagio, on muted strings, was fascinating for Haydn’s use of textural build-up. Carefully-placed pizzicatos added interest to phrases. The unanimity of high violins was a joy. Whilst there is grace aplenty here, there is also a feeling of disquiet; the Menuetto does its best to dispel his. Page’s in particula, which was vry ‘danceable’ and contained a nicely rustic, woodwind-spotlit Trio. The highlighted second beats in this movement seemed to link back to the ‘punctuating chord’ of the first, before a ‘Schezando e presto’ finale found bassoons now at the height of rusticity. A splendid piece, and a joy to hear.
Mozart’s Violin Concerto No. 2 in D, K 211 received an animated performance from Rachel Podger. Animated in physical motion as well as in sound: she is a joy to watch. She lives the music, and revels in a sense of solo/tutti dialogue and in the registral contrasts contained within the violin part of the first movement. The Andante was really quire fast, but remained elegant. Podger’s violin still sang; it was as if Podger was discovering the line’s twists and turn as she played, so unexpected they seemed on occasion. The finale is a Rondeau, and a fairly quirky one. Page and Podger brought out all of the music’s intrinsic character.
NO Haydn to open the second half, but a 1775 ‘Symphony’ with the rather odd catalogue number of K 196, 121/207a. La finta giardiniera is vital to this, as Mozart recycled the Overture ino a symphony, adding a finale (now re-catalogued as K 207a). So if it sounds familiar to you (some bits of it, anyway) that’s why. And Page really did bring a whiff of greasepaint to the opening Allegro molto. Charm played a big part in the central Andantino gracioso before laughing woodwind enlivened an already energetic final allegro (the K 207a portion). Contrasts reminded one of the Haydn of the first half.
The music of the ‘exotic East’ held a fascination for composes of the 18th-century (just think of Mozart’s Entführung or the ‘Rondo alla turca’ from his Piano Sonata, K 333). It came out also in Mozart’s Fifth Violin Concerto in A major. And although also from 1775, this feels like an expansion, particularly in the chromatic second subject. Podger was an utterly convincing soloist, covering registers in the blink of an eye, and offering a stopping-drenched cadenza. Page encouraged his plyers to delve into the gestural nature of the Adagio, marred only by the occasional tuning issue. Another ‘Rondeau’ to close, but this one with an injection of Turkish music. This was an account both accurate and full of dama. Parts sounded improvised from Podger, while the ‘Turkish’ moments bit deliciously before the orchestra embarked on a stomping dance.
No encore, but a fabulous evening. The pre-concert talk from Ian Page was, as usual form this source, informative and enthusiastic.
