Aisslinn Nosky and the Handel & Haydn Society Orchestra (photo: Kat Waterman) |
This weekend's performances by Boston's Handel and Haydn Society are aptly titled Mozart and Haydn, as they are just that, a program devoted to the two composers, with a concerto by Mozart bookended by works of Haydn. It was an appropriate choice on the occasion of Mozart's birthday, which was noted by concertmaster Aisslinn Nosky in pre-performance remarks, after entering the hallowed walls of Symphony Hall attired in a brightly colored period waistcoat to complement her shock of red hair so familiar to the company's avid following. It was an indication of the excitement to come, first with Artistic Director Harry Christophers' crisp conducting of Haydn's Symphony #26 (Lamentatione), later his very brief Overture in D minor and Symphony #86. In between, Nosky led the thirty-five piece orchestra in Mozart's Violin Concerto #3 in G major as she displayed her supremely virtuosic violin skills.
This company, the oldest continuously performing
classical music ensemble in the United States, has been providing
superb offerings since its inception in 1815, just over two centuries
ago. This program was no exception. With the strings standing, as
was often the custom in the eighteenth century, throughout the almost
two hour performance, Christophers conducted the Lamentatione
with the precision one has come to expect, highlighting the classical
pattern of establishing an idea, then moving away from it, ultimately
returning to it, revealing the basic principle that came to guide
typical classical movements. It reflected the Holy Week chants with
their tune from the Lamentations of Jeremiah, from its opening
drama to the countermelody between oboe and violin, to the somber
minuet with its odd and unexpected emphasis of the last of triple
meters. It was a thoroughly apt introduction to the central piece of
the evening, the Mozart concerto.
The Violin Concerto #3 in G major is a showpiece
for any able violinist, but became a truly mezmerizing one in the
hands of Nosky. The audience, already quite familiar with the
extraordinary physicality in her role of concertmaster, was wowed by
her simultaneous playing and leading of the orchestra by means of her
body language and obvious delight in the piece. Nosky has become a true superstar indispensable with her
growing recognition as a force of nature with which to be reckoned,
for a company that remains a remarkable repository for the music of
the era. Her playing, especially in the cadenzas, coupled
with her energetic leadership, made this easily the musical highlight
of the program. She is always a delight to watch, and here was an
absolute joy to hear. Her “whole body power” (to borrow from the
nomenclature of oriental martial arts), while standing, was
exceptional and exhausting (for both performer and audience).
After intermission, Christophers returned to conduct the
two remaining works by Haydn. The
Overture in D major, part of a now-lost longer
work, was short and sweet, with its interplay between the lower
strings and the violins especially evident, and several surprises for
the audience along the way. This was followed by the Symphony
#86, one of the six “Paris” symphonies by Haydn. As it
segued from the placid to the powerful, with his clever use of pauses
and rests, it proved a lively conclusion to a well-thought-out
program.
There remains one more opportunity to experience this
program, again at Symphony Hall on Sunday January 29th at
3pm. The pre-performance commentary by Teresa M. Neff is highly
recommended. Go and enjoy them both.
The remainder of the current season includes:
Glories
of the Italian Baroque
-February 10 & 12 at Jordan Hall
McGegan
& Mozart
-March 3 & 5 at Symphony Hall
Monteverdi
Vespers
-April 7 & 9 at Jordan Hall/Sanders Theatre
Handel's
Semele
-May 5 & 7 at Symphony Hall
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