Although
it is a fairly common practice,
attempting to complete a composer’s
unfinished works never fails to
elicit extreme reactions. Perhaps
Toscanini’s decision to stop the
world premiere of Turandot
in the middle of Act III (where
Puccini ceased working) stands as
the most famous and public acknowledgement
of a work completed by one other
than its composer. This all-Mozart
disc (or should I say, “This almost
all-Mozart disc) features a work
that was never finished in the composer’s
lifetime. In fact, of the work’s
three movements, not even the first
reached fruition. The final selection
on this disc, the Concerto in D
major for violin and piano, has
been reconstructed and completed
by Philip Wilby, a composer and
professional violinist. The reconstruction
is of serious length, as Mozart
had only composed the first 120
bars of the first movement. In his
liner notes, Wilby makes a convincing
case for assuming that this double
concerto was to be, essentially,
a re-working of Mozart’s Sonata
for violin and piano in D major,
K. 306. Based on this assumption,
Wilby completed the first movement
of the concerto with music from
the sonata and rounded the piece
off by orchestrating the final two
movements of the sonata.
Whatever
one’s personal feelings may be regarding reconstructions such
as this, Wilby’s product is top-notch. He does an admirable
job imitating Mozart: moments in which the piece sounds un-Mozartean
are few and far between. The orchestration is colorful and
playful, and all instruments are used idiomatically. The Camerata
Salzburg gives a crisp and inspiring performance. The violins
play with impeccable union and a beautiful ensemble tone.
The winds, so often more of a liability than an asset, play
with charisma and finesse. Occasionally, in this and other
selections on the disc, the Camerata’s phrasing is a bit heavy.
This is, however, a small criticism. The soloists’ performances
demonstrate amazing rapport and teamwork. It seems a cliché
to describe their playing as conversational, but in many ways,
that is exactly what it is. They seem to be in constant communication,
each taking the lead occasionally and only when appropriate.
It is reminiscent of professional ball-room dancing: lifts
and turns of amazing complexity seem effortless, and their
success in making it seem so simple is a result of pure cooperation.
The first and second movements of this “new” Mozart concerto
are not to be missed. The opening movement displays an infectious
mischievousness that is marvelously extended for its duration.
The second movement is stunning in its elegance and introspection
as well as Knauer’s success in soliciting a wide range of
ravishing color from his instrument.
The
remaining two works on the disc, the Piano concerto in D major
and the Sonata in G major, are fairly standard works and are
given here in reasonably good performances. Knauer’s playing
in the concerto is exciting and colorful. The piece, however,
is almost more of a showcase for the ensemble than it is for
the soloist. Symphonic in nature, it features a wide instrumental
palate, featuring the flute in many moments. With this in
mind, balance could have been greatly improved had the upper
strings played a bit softer and allowed instruments (such
as the flute) to ring a bit more audibly. The Sonata in G
major is full of quirks. A two-movement work, one of which
is a theme and variations, it was, as Wilby explains, an attempt
by Mozart to gain notoriety in the amateur market. It displays
aplomb simplicity, but also a profound sincerity and elegance
— especially the set of variations. In many instances, the
violin takes a backseat to the piano, and in these spots,
Knauer truly excels. His passagework is precise and articulate
without being percussive. Hope plays well in most cases; however,
many of the less demanding sections seem dull and somewhat
uninspired. Oftentimes, these technically “easy” moments require
the most communicative help from the performer to avoid a
lackluster execution. In spite of these few issues, the sonata
is a pleasant listen.
This
disc is definitely one to own. The newly completed double
concerto provides sufficient motivation in and of itself.
It’s not often that “new” Mozart pieces become available.
Jonathan
Rohr
