Sam Newsom Music Centre Boston Mar 10 Concert Review (March 06, 2010)
Boston Sinfonia Mar 2010
Boston Sinfonia had a hectic time last weekend – rehearsals on Friday evening and Saturday afternoon followed by their performance in the Sam Newsom Music Centre on Saturday evening – an especially punishing schedule for their conductor Nigel Morley, for he was also the soloist in Mozart’s Piano Concerto K.271. He also talked us through parts of the first work in the programme, Haydn’s Symphony no.26, very helpful for it doesn’t sound like the customary after dinner symphonies that the composer wrote for Prince Estahazy, Haydn’s employer. With illustrations from the orchestra, we learnt of the working of Passiontide plainsong with Haydn’s own themes in two of its three movements, suggesting it was for that season. No wonder it acquired the nickname ‘Lametatione’. The first time Nigel has added a little talk to one of these concerts, he brought it off well to prepare us for the serious drama of much of the piece.
Mlle Jeunehomme, for whom Mozart wrote the concerto K.271, was a virtuoso and blind. With cadenzas written in by the composer for her, it is well known to us today – and must have shown off her skills splendidly, requiring hands crossed at times and with its flying scale passages, that sparkle it has real pathos in its slow movement. It was given a spirited performance, with Nigel conducting from the piano.
After the interval there was just one work, Schubert’s 5th symphony, written when he was only nineteen. Again this is a work for a small orchestra. Schubert’s compositions were almost entirely performed in his lifetime for and by his close circle of friends. A largely happy, warm and lyrical piece it presents a different sound world from the Haydn’s no.26. Schubert puts his winds and strings in conversation one with the other more often than not. There is a flute in addition to Haydn’s oboes and bassoons and horns with some wonderful counter melodies to play. What a contrast it is with the highly emotional Haydn with its urgent syncopation and winds often backed up with the strings.
Clearly these players listen to one another as well as taking direction. More exposed by proximity to the audience and with the excellent acoustic of the room, the orchestra did not disappoint. The orchestra was of the size and make up and was seated much as it would have been when these pieces were first performed. Though particularly hard on the conductor/ soloist, this was excellent programming.
It seems a great idea, and probably essential for the health of this venture to cultivate additional audiences, with one concert each in 2010 in Sleaford and Marshchapel as well as those in Boston.
Brenda Lane Click here to return to the Publicity page
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