After hearing Mitsuko Uchida and the Mahler Chamber Orchestra in Alicante’s ADDA concert hall, I was sufficiently surprised by what I had heard to be prompted to download a score as soon as I got home. I don’t think I have ever heard this music played in this way. The impression this event made on me was one of surprise.
The program did not promise a surprise, or even suggest one. On offer was a peculiarly Viennese sandwich, the bread from the first school of the city’s composers and the filling from the second. The two outer layers were both Mozart piano concertos, numbers 25 and 27, whilst the filling was provided by Schoenberg’s Chamber Symphony No. 1. All of these works are familiar, the Mozart concerti perhaps over-familiar, in that they are played, perhaps overplayed, by a multitude of soloists. The Schoenberg is less commonly included on concert programmes, especially in the style the Mahler Chamber Orchestra chose to present it, but it’s a piece that has been in the repertoire for over a century, so surely there’s nothing new here!
Let’s start with the Schoenberg. As the evening’s programme notes reminded us, the first chamber symphony caused a riot at its first performance in 1907. The music was clearly not what the audience was expecting and, always afraid of the new, they vented their disquiet. And yet this chamber symphony pre-dates Schoenberg’s adoption of the twelve tone system, let alone its later manifestation as serialism. This work is in late Romantic style, but now the key changes are more extreme, the harmonies more dissonant and, perhaps crucially, the ideas pass by faster, rather like a series of juxtaposed miniatures and fragments.
It sounds like a musical equivalent of Braque’s cubism, in that recognizable shapes are still there, but they are cut up, reassembled, overlapped in order to break up the lines and encourage listeners to savour the moment rather than anticipate the next. But there is surely also some of Schiele’s emotional aggression in this music. It remains a piece that challenges its audience to listen, though it does analytically conform to the ‘traditional’ symphonic structure.
Playing this work convincingly on stage needs expert musicians with the habits of the cooperative communication that makes chamber music such a joy. Only with all of these ingredients can performers make a success of this music. Some fifteen members of the Mahler Chamber Orchestra stood to play this piece and their performance was almost beyond perfect. Musical ideas were passed around with nods and smiles and the work’s complexity simply became the medium via which these arresting sonorities were communicated. A century can make a massive difference. Suffice it to say that this performance was greeted with cheers, not jeers.
So the filling in the sandwich was very tasty indeed. But what about the Mozart bread and butter that confined it? Well, this was the real surprise. Mitsuko Uchida was soloist and director for both concerti. This in itself is not so rare. But what was utterly surprising, even arresting, was the way the pieces were played. Yes, it was perfect. Yes, all the notes were there and all in the correct order. Yes, these pieces are familiar. But the phrasing and dynamics were chosen to emphasize the music’s emotional meaning, which was beautifully and implicitly communicated. I rarely associate Mozart’s music with emotional involvement. Usually, the sheer decorative elegance gets in the way of human contact, like a hard glaze that hides the material beneath. But this was something quite different and utterly original.
The score I consulted afterwards was that of the Piano
Concerto No. 27. Had I ever heard the opening played so quietly? Had I ever heard
the pauses inserted to make the sentences and paragraphs of this music make
such complete sense? Well, the score did in fact say ‘p’ at the start. Unlike Schoenberg
over a century later, Mozart did not use many expression marks to indicate
performance style. This is often interpreted as meaning that everything should
be played in a mechanical rhythm, with phrasing and emphasis only minimally
applied. But in the hands of Mitsuko Uchida and the Mahler Chamber Orchestra,
this Mozart was vivid, emotional and above all communicative rather than showy.
And, with deference to Mitsuko Uchida, the dynamics are all there in the score.
The real difference was achieved via touch and phrasing, and all of this was a
result of Mitsuko Uchida’s playing and interpretation of the score. As was the
case with Mozart, himself, and this evening with Mitsuko Uchida, the surprise
could be attributed to the presence of genius.
