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Musical artistry shines new light on classic works
Starting with "Eine kleine Nachtmusik" by Wolfgang Amadeus Mozart was a statement in itself. The sheer body of sound produced by old-style instruments was striking, but more impressive still was the artistry that shaped the music. The music's energy, charm and emotions, which made it so popular, were more fetching than ever thanks to the commitment and style of the performers. Manze's interpretation was full of the nuance that delights the ear and conveys significance.
Some of the clarity resulted from placing the second violins on the opposite side of the stage from the firsts. Modern big orchestras place the seconds behind the firsts. Another positive contribution to the concert's sound was the setup at the Byham for this concert -- placing the musicians on an extension of the stage over the orchestra pit and in front of the proscenium.
Manze introduced "The Fencing School" by Johann Heinrich Schmelzer by emphasizing a similarity between use of the bow that produces sound from string instruments and use of the sword or rapier in fighting. The power of the English Concert's violins in the parry and thrust of the fencing school movement was stunning, but then healthy bowing is a core strength of the ensemble.
Manze was joined by three other violinists for the Concert in F major by Pietro Locatelli, the solos of which begin with a theme that has the bows jumping across the strings. It is enjoyable music that combined the four soloists in all sorts of patterns before concluding with a musical version of the wave -- written more than 300 years before sports fans discovered the gesture.
After intermission, Manze returned to Mozart with the Adagio and Fugue in C minor. Manze's spoken introduction was uncommonly pertinent. He didn't merely show the fugue theme; he also showed what it sounds like upside down and when both positions are played together. Now that's really serving the listeners' ears.
The stimulating nature of the concert carried right through to the conclusion, when Manze was soloist in two concerti by Italian baroque composer Antonio Vivaldi that look forward stylistically to the classical era. "L'Amoroso" was as caressingly beautiful as the C minor Concerto was stormy.
The delightful evening was a collaborative presentation of the Renaissance and Baroque Society and the Pittsburgh Cultural Trust. Audience enthusiasm demanded an encore, which was a performance of the finale of an early Divertimento in F major by Mozart no less brilliant than the Academy of St. Martin in the Fields' comparable encore at Heinz Hall two weeks ago.
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