Wolfgang Amadeus Mozart (1756-1791) is often held up as the example of the consummate musical genius. A famous wunderkind in his lifetime, he gave humanity an incredible amount of music in his 35 years.
But unfortunately, it has become easy to take Mozart for granted. We hear him all the time, from film scores to ringtones. That’s why a performance like the one offered by the Santa Maria Philharmonic Orchestra under Maestro Michael Nowak on Feb. 25, titled Mozart Maximus, is so important, because it serves as a potent reminder that Mozart’s genius can still communicate authentically and directly to any audience.
But it takes one to know one, and the Santa Maria Philharmonic Society’s decision to take on Michael Nowak as music director and maestro last year certainly bore fruit at this last concert. Nowak made interesting decisions as far as the programming went, beginning the evening with Mozart’s “Symphony No. 5 in B-flat Major, K. 22,” which was penned when the composer was only 9 years old. That’s right, a 9-year-old who was already on his fifth symphony.
While some might wonder at programming music penned by a child, Nowak pointed out just before the music began that the audience would probably be “surprised” by the “maturity” of the piece. He was right on that one. It was a short, but it was sweet, and already demonstrated the incredible sponge-like mind of the developing Mozart. And with the tender love and care of the orchestra, which sang with Nowak’s movements down to his fingertips, the piece was realized passionately and poignantly.
The second part of the first half of the concert was a real show, when the orchestra and Nowak welcomed violin soloist Brynn Albanese for an astounding performance of “Violin Concerto No. 5 in A Major, K. 219.” This piece was penned when Mozart was 19 years old and still living with his father in Salzburg (before his big move to Vienna) and was a court musician there. It’s likely that this piece was written at a time when Mozart knew he would play the solo part at the debut.
As I found out later during intermission, Albanese was actually called to play the piece with the Philharmonic just four weeks before the concert because of a miscommunication with the scheduled soloist. Albanese had never performed the piece, but was teaching it to a student, she said.
“It was a really neat experience for me because it was extremely challenging for me personally, because I don’t do that every weekend,” she said. “I am a soloist, but not the kind that just goes and plays these things on a regular basis.”
The only indication of that was the sheet music Albanese had on stage—she didn’t have the time to memorize the piece—because her performance was of the highest level. Her moments on the highest notes dazzled and shone in perfect harmony, incredible when considering the fiery scale passages and bounding arpeggios Mozart penned.
The first violins, headed by Concertmaster Sharon Cooper, were almost like a second soloist at times because the sections sounded as one, and fell in flawlessly with lush thirds under Albanese’s clear lead. Everyone reveled in the last movement’s “alla turca” passage, with the double bass and celli rapping out “col lengo” passages, or striking the instrument with the wood of their bow. Albanese spiced up that section with tastes of her beloved gypsy style.
I have a personal pet peeve of classical music that is played too slowly, like it’s a dusty old piece of machinery taken off a museum stand and tested out or demonstrated. Nowak more than met my expectations with how he conducted the orchestra for the concerto—with excitement and jubilance. He really has a knack for conducting an orchestra for a soloist as well, and the Philharmonic’s players were with him every step of the way.
I was sitting with Ann Lucas at the performance—she delivered the pre-concert lecture. Lucas is an Allan Hancock College music professor (full disclosure: also a former teacher of mine), doctor of musical arts, and wrote the program notes for the show as well. She’s heard a lifetime of Mozart, and turned to me just after the violin concerto ended and said I would likely “never hear that done better.”
The second half of the evening was the illustrious “Symphony No. 40 in G-Minor, K. 550,” which has been employed in innumerable films and other projects. Number 40 is the middle child of Mozart’s last three symphonies, and one of only two minor-key symphonies he ever composed. It’s a fully realized Mozart, a few years from his death, perhaps approaching the late period we will never know.
Hearing this beloved piece rendered so perfectly by the Santa Maria Philharmonic Orchestra and Maestro Nowak was a potent reminder that Mozart matters. The pacing from Nowak, taking us through Mozart’s childhood, adolescence, and last years, made for such an edifying experience. I felt close to that crazy prodigy, and close to everyone there, especially those on stage who shared such an intimate, nonverbal transmission of beautiful genius.
Managing Editor Joe Payne got most of the music history facts here straight from Ann Lucas’ program notes. Contact him at jpayne@santamariasun.com.
This article appears in Mar 2-9, 2017.
