RIDGEFIELD SYMPHONY
ORCHESTRA – Saturday, January 5, 2008
Reviewed by Courtenay Caublé
Returning for an encore guest appearance, Maestro James
Sadewhite led the Ridgefield Symphony last Saturday evening
at the Ridgefield Playhouse in what has become a traditional
annual all-Mozart program that on this occasion included the
composer’s Serenade No. 6 in D (Serenata notturna), Symphony
No. 41 in C (Jupiter), and Clarinet Concerto in A, with
Russian-born clarinet virtuoso Igor Begelman as the soloist.
The orchestra was in good form, and Maestro Sadewhite’s
brief comments before each work were an enhancing
contribution – particularly his references to Mozart’s use
of an echo effect reminiscent of the Baroque concerto grosso
in the Serenade and Baroque-style counterpoint in the
Jupiter Symphony’s impressive fugue-like passages, both of
which reflect Mozart’s admiration of J. S. Bach’s music,
even though the older composer’s works were generally
ignored or even unknown in Mozart’s time.
The brief opening three-movement Serenade was beautifully
managed, with especially outstanding playing by the “string
quartet” (two violins, a viola, and a double bass) that
moves in and out of the larger ensemble for lovely
contrasts.
And the great Jupiter Symphony enjoyed an equally fine
reading, with (as in the Serenade) Maestro Sadewhite’s fine
control of sectional balances and subtle attention to
nuances and dynamic contrasts illuminating the myriad
qualities that make Mozart’s music so extraordinary.
Everything else being as fine as it was, though, Igor
Begelman’s performance of the Concerto in A, with fine
support from Sadewhite and the orchestra, was the program’s
highlight. Playing a modern version of a “basset” clarinet –
the special elongated instrument with an extended lower
range used by eighteenth-century clarinet virtuoso Anton
Stadler, whom Mozart admired and for whom he wrote both the
Concerto and his Clarinet Quintet – Mr. Begelman gave
Saturday evening’s audience the opportunity to hear the work
in a version much closer to Mozart’s original score than the
one modified for a standard clarinet that is usually heard.
Mozart loved the clarinet for its impressive compass (range
of notes), its unusual variety of tone qualities, its
agility, and its dynamic range – from the softest murmurs to
piercing outcries. And both Mr. Begelman’s sensitive
understanding of Mozart’s wonderful score and his virtuosic
artistry and control provided for the best possible
illustration – from the gentle beauty of Mozart’s song-like
themes (particularly in the lovely slow movement) to the
frolicking solo fireworks in the playful and brilliant rondo
finale. Mozart and Mr. Begelman made a good team.
Join Our Email List!
The
Ridgefield Symphony Orchestra
90 East Ridge, Ridgefield, CT 06877
Tel:(203) 438-3889 Fax:(203)438-0222
Contact Us
Privacy Policy
Site design and hosting by
Reading Eagle Company Internet Services
|
