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Concertino series: Mozart, Janáček, Grieg
The Concertino series, featuring works for chamber orchestra, this time launches a musical expedition to the north.
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Concertino series: Mozart, Janáček, Grieg
Program:
Wolfgang Amadeus Mozart: Symphony No. 15 in G major, K. 124
Violin Concerto No. 5 in A major, K. 219
Leoš Janáček: Suite for String Orchestra, JW 6/2
Edvard Grieg: Two Nordic Melodies, Op. 63
Suyoen Kim, violin
Concertmaster: János Pilz
The departure point was Salzburg: on his return from his second trip to Italy, Mozart composed his Symphony No.15 here, and it was here that he wrote his Violin Concerto No. 5, with which he bid farewell to the genre at the age of just under twenty as he gradually explored and pushed the limits of the violin concerto's scope and technique. Janáček's Suite for String Orchestra from the composer's early period will be performed in the Czech Republic. The final destination will be Norway, where the BFO, led by János Pilz, will bring Grieg’s two melodies based on folk songs. The soloist for the evening is Berlin Konzerthausorchester's first concertmaster Suyoen Kim, who plays Mozart with "charm, a seductively warm tone and fluid melodies", according to The Strad journalist.
Mozart struck a more serious note in his Symphony No. 15, which was composed when he was sixteen, than in his A major symphony written on his return from a tour of Italy in 1771. Although only two months elapsed between the two works, the Symphony in G major is in many ways more regular but more daring in its tempo treatment than its predecessor. The square theme of the odd-metered, opening movement is followed by a sharply-contrasting quiet but rich slow movement, with its string sonorities tinged with oboe and horn. After a minuet of an almost harsh main section and a singing trio, a bright and cheerful rondo concludes the work.
His violin concerto in A major was composed in 1775 as a summary of everything to know about the genre. Here the solo instrument behaves like a little diva: after the orchestral overture of the first movement, it reluctantly starts the main theme but only following a lyrical aria. The melody consisting of triads emerges in all three movements. The exceptionally accomplished, luscious second movement is followed in conclusion by a rondo with Turkish-like––though to the Hungarian ear, mostly Hungarian-sounding––phrases.
Janáček's Suite for String Orchestra is light, balanced, charming, sincere, and sometimes ironic music. The instrumentation is very contrasting: in one movement the violins carry the melody, in another the low strings. The composer intended to write his 1877 work on the model of a baroque suite but the movements were so far removed from the dance types that he eventually abandoned the baroque titles. The six movements include powerful, translucent, bucolic, Beethovenian, meditative, and melancholically-heroic music.
Known for his musical miniatures rather than large-scale forms, Grieg's oeuvre includes a wealth of folk melodies. The titles of the Two Nordic Melodies also suggest a folk inspiration. In " Folk Style " Grieg evokes the icy, bleak, stagnant world of peasant life. The slow movement, led by the cello, though harboring warm harmonies, never quite escapes its sweet sorrow. Shorter and simple in structure, "Cow Calling and Peasant Dance" is a pairing of a moderately paced melody and a lively dance.
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