The Australian Brandenburg Orchestra, an ensemble of about 30 players, was on this occasion joined by two international guests: pianist Kristian Bezuidenhout and guest director and violinist Marc Destrube. Destrube conducted from his seat and the orchestra responded well, although more accustomed to looking to the centrally positioned keyboard. So it was amusing to see Bezuidenhout clearly wanting to engage the other players with eye contact and smiles and amazing that they were not confused by two claims on their attention. (Some members of the audience were annoyed by Bezuidenhouts idiosyncratic style, with facial expressions that were hard to ignore; others mused that Mozart himself may have had such mannerisms). But to the music. Kristian Bezuidenhout performed on the fortepiano, which of course added to the authenticity of the sound. It was surprising for its range of dynamics, particularly the softness that enhanced the slow movements of the symphony and the concerto, and the Rondo, marked allegretto grazioso. This was indeed gracefully played and evidently a Mozart favourite, as the composer wrote to his father: I composed it specially for myself and no one but my dear sister must play it. I think that Mozart might have made an exception for this performance, which displayed empathy and a delicate touch from both soloist and orchestra. This approach seemed less suited to the opening Symphony No.25 in G minor, K183, which was beautifully executed but something of a shock to listeners used to grand performances of the work. After interval came the Overture to La Betulia liberata, with a strong brass presence. (Apparently such overtures were meant to settle the audience by grabbing their attention and this it did, effortlessly!). The highlight of the night followed: Piano Concerto No.22 in E flat major K482, which made a powerful entry (although with slightly blurred horns). Destrube kept good control of the fast-paced allegretto, and the andante was as soulful as youd hope for even if the strings and the winds, in a pretty passage were more prominent than the piano. The famous dance-movement opened the third movement, and gave the winds another chance to shine, before the andantino segues into a return of the first subject rather like a rondo. Bezuidenhout took a humorous, confident approach to the coda, in a manner that again I think the composer would have endorsed. He is a very fine pianist and exponent of this music, but is Bezuidenhout the new Mozart, as has been said? I simply cant say. Rating: Four and a half stars Mozart Tempest Australian Brandenburg Orchestra Guest Director & Baroque Violin: Marc Destrubé (Canada) Fortepiano: Kristian Bezuidenhout (USA) MOZART Symphony No 25 in G minor K183 MOZART Rondo in D major for Piano & Orchestra K382 MOZART Overture to the Oratorio La Betulia liberata K118 MOZART Piano Concerto No 22 in E flat major K482 Melbourne Recital Centre August 8 Watch Kristian Bezuidenhout perform here
Mozart Tempest
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