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SEEN AND HEARD UK CONCERT REVIEW
Mozart: Piano Quartet no 1 in G minor K478;
Piano Quartet no 2 in E flat K493.
J. S. Bach (arr. W. A. Mozart): Adagio and Fugue in G minor K404a/2
Adagio and Fugue in F; K404a/4
Largo and Fugue in E flat K404a/5
Schnabel warned us, some sixty years ago: Mozart's notes are easy
to play, but interpreting them is hard. Later commentators have
been less demanding, opining that there are many ways of playing
Mozart. This latter comment, be it noted, finds room for playing
Mozart badly, mechanically, soullessly, over-romantically and
over-classically. However, it also includes those who play Mozart
adroitly, sensitively and with sublime artistry - and those gifted
enough both to undergo the experience and catch the meaning. They
are few - but Imogen Cooper is one such.
Her Mozart sings in a declaration of pretty much ceaseless melody
and constant variety and surprise. Her long-standing familiarity
with Mozart gives her the experience to introduce inflections that
match the composer's own phrasing and poise with inspired
appositeness. She knows exactly what she requires herself to do.
She can bring a climax to an end with a clinching loudness and
hardness - yet, when more appropriate, she'll finish with a
slight, gently dying fall. For the most part, she rightly makes
scale passages an integral part of the melody (how few pianists do
this); but occasionally - and aptly - scales tumble past in
empty-headed, cocksure bravura. She can turn the piano into a lone
flute - pastoral, plaintive and wafting; yet, when necessary, she
presents a stentorian tutti, as though a whole orchestra lay at
her fingers' command.
Imogen Cooper's Mozart is one of the glories of the London musical
scene. She is acclaimed, as are many others. She deserves even
higher esteem. Her companion
players on this occasion - talented themselves - are of a younger
generation. I envied them their close contact with this gifted,
poetic elder, herself the pupil of Alfred Brendel, Jörg Demus and
Paul Badura-Skoda. I hoped that something of the occasion stayed
with them - that they felt the privilege of being party to such
music-making, in touch with such antecedents.
Katharine Gowers made a shining impact immediately. Her sweeping
command was stylish - in a confident display of the music's
bravura. Yet, she, like Imogen Cooper, responded sensitively to
Mozart's occasional displays of vulnerability. Krystof Chorzelski,
given the viola's more retiring role, participated with
well-judged care. These two played simply, strikingly, with
minimum vibrato.
The Bach arrangements were for the strings only. Those in the
major keys did not quite gel - Mozart's G minor arrangement was
far more successful and arresting, catching the idiom with more
assuredness. The absence of a piano part enabled the softer,
mid-range tones of Krystof Chorzelski's viola to make their mark.
Adrian Brendel puzzled me. He opted for continuous, busy vibrato.
At first, I thought his policy decision lay in a desire to ensure
that long, sustained notes in a fairly minimal part stayed present
in the music-making. Then, I realised that sustained bowing, with
minimum vibrato would have had greater impact, giving a cleaner
sound, equally capable of being sustained - and one that
corresponded to the tones of the violin and viola. In fact, the
assiduous vibrato softened the cello's sound, rendering the
instrument even less audible than need be. This was an odd
decision in what was otherwise a jewel in King's Places's 'Mozart
Unwrapped' season.
Ken Carter