Reviewer Peter Williams had an enjoyable time at the MSO’s recent concert of Mozart Favourites with director and soloist Michael Collins (pictured) – and not just because of the famous Clarinet Concerto. Melbourne audiences have been privileged to hear outstanding Mozart concerts recently and this was no exception. The music of the concert shone in the acoustic of Elisabeth Murdoch Hall. Whilst there were moment of extreme quietness and intimacy, the audience was left with a feeling for the force of the music, its physicality and vitality. It was strong.
It was an all-Mozart program and began with the stage set in an open square for the 13 musicians required for the Serenade in B flat. This arrangement allowed Collins as the lead clarinet to subtly direct the strong reading of this substantial work. A serenade was generally a light, outside entertainment using eight wind musicians. In this work, the number of musicians is greater and the work is much larger, almost 45 minutes in length and comprising the first half of the program. Whilst there are the usual strong stately parts, as in the opening fanfare-like chords which would have attracted people’s attention, here there are also quieter moments of tenderness and introspection in minor keys.
The ensemble work was well balanced in the to-ing and fro-ing of the themes and timbres. Moments between the clarinets and oboes were most engaging and playful, along with some wonderful scale work from the bassoons, and warmth from the four horns. Moments of childlike gaiety contrasted with darker moments and the lines were clearly kept with distinct instrumental voices. Collins directed with clear lines and masterful layering effects in crescendos and tuttis.
Mozart’s Clarinet Concerto came in at number 6 in the ABC’s 2007 poll of favourite concertos. This performance would have disappointed no one, being energetic, lyrical, and strong. The orchestra shone crisply, especially the first violins, and Collins gave a virtuosic performance. Leading from the gap in the first desks of the strings gave him an immediate connection with them. He played a larger than normal clarinet (basset clarinet) which gave him the ability to sing the top register whilst reaching down into rich warm and mysterious tones. There was wonderful rubato throughout the first movement.
The famous slow movement was almost pure liquid in Collins’ languid crescendos and the longing he engendered. There were breathtaking spacious pauses, before the final movement gave the soloist the chance to shine, with virtuosic runs and trills whilst still allowing intimate moments. The orchestra, especially the winds, responded in kind. The musicians all smiles at the end of the piece, as were audience members.
The concert finished with Collins conducting the Symphony 34 from a podium and encouraging a strong full sound from the orchestra led by Eoin Anderson. There was a festive feel at the beginning, which featured great playing from the trumpets and timpani. The middle section highlighted a slightly darker mood, though the playing was still gracious. The slow movement had great attention to dynamics and phrasing, often almost “romantic” in effect.
The final movement proved true to its allegro vivace marking. The whole orchestra played with great vitality and the oboes stood out with nimbleness and clarity. Collins also brought out a wonderful contrast of the solid wind block moving against the helter-skelter of the strings before the engaging return to the main theme – moments of delight and fun.
Beg, steal or borrow a ticket for Saturday night!
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Peter Williams reviewed the concert on September 18, 2014
Mozart Serenade No.10 for winds Gran Partita
Mozart Clarinet Concerto
Mozart Symphony No.34
Michael Collins clarinet/director
