Tafelmusik does Mozart
Last night Tafelmusik Orchestra with guest soloist Robert Levin gave a spooky performance of Mozart’s Concerto for fortepiano no. 24 in C Minor, the highlight of a concert celebrating Mozart’s 250th anniversary year. A reproduction fortepiano stood in historic position at centre stage, facing outward. From central seats, Danny and I saw every facial expression the soloist shared with director Jeanne Lamon and musicians.
The fortepiano sounds thin compared to modern keyboards, requiring orchestral subtlety. This effect suited the dark opening Allegro, which came across ghostly rather than grand. Levin, noted for classical improvisation, provided a diabolical organ-like cadenza. The rest of the movement, transparent chords shifting into shadows, was spine-tingling.
Levin wasn’t the only musician improvising. When clarinets and bassoons introduced a jovial variation in the third movement, Lamon and Levin practically burst out laughing. This lively interaction between musicians is one of the best features of Tafelmusik’s live performances.
The second half of the program proceeded with an improvisational game performed by Levin, and the “Paris” Symphony no. 31 in D Major. This was unfamiliar, but the orchestra’s bold, brilliant expression of the first movement appealed for repeat listening.
The pews at Trinity-St. Paul’s Centre are damn uncomfortable.