MOZART MAGIC

Review of June 2025 Concert

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Mozart magic certainly made up the main courses but two short works by Adrien de Croy and Jacques Ibert were appealing interludes.  The concert, conducted by David Sharp, opened with a commissioned work of Adrien de Croy – who has been a long-term member of the orchestra.  His Spring from Autumn’s Dawn Awakes, for Violin and Orchestra, was performed by Amalia Hall with the orchestra.  The orchestral opening was gentle with a quiet timpani beat and with the solo violin entry led with entrancing upper register melodies into a more intense section.  There were a number of virtuosic themes for the soloist and Amalia played them with superb technique.  Flutes suggested bird song, and the richer cello sound suggested dawn and the awakening of the whole orchestra.  The audience responded warmly to Hall and de Croy who was also present.  A very accessible new work, surely worthy of further performances.

Somi Kim has worn many hats in New Zealand’s musical world – as pianist of NZ Trio, in collaborative and solo performances with NZ orchestras.  Here, she performed Mozart’s Piano Concerto No. 21 in C K467.  Her great technical skill and respect for the wonderful music of Mozart were in full display.  These showed best when she was unaccompanied as the acoustics of St Matthew’s Church (much loved by the orchestra for their softening qualities) contributed to the rather fuzzy sound when piano and orchestra combined.  A slightly slower pace might have improved the clarity.

For all that, the serene beauty of the slow movement was beautifully played by the orchestra.  Kim’s great sensitivity there and her virtuosic solo runs in the Allegro vivace assai made this a very special performance.  Plaudits go to both Kim and the orchestra.

The Hommage à Mozart, written by Jacques Ibert in 1956 in celebration of the two hundredth anniversary of Mozart’s birth, was written in rondo form.  The first theme was introduced by the orchestra and each repeat was by a new instrument – flute and lastly trumpet, before the orchestra showed their ability at counterpoint and the piece was rounded off with the first theme.   A jolly honouring of Mozart.

Mozart’s Symphony No. 39 in E flat gave the players the chance to ‘pull out all the stops.’  Clarinets and timpani, woodwinds and strings, all relished their parts.  The slow Adagio introduction to the first movement with loud chords and majestic timpani hinted at a regal procession before the entrancing first theme of the Allegro.  The Andante con moto’s calm and serene opening moved suddenly into a second theme.  The dance tune of the Minuet and Trio was great fun for the clarinets and played with aplomb.  The final movement – Allegro – saw the violins in crisply disciplined and perfect scales.

David Sharp’s conducting style was wonderful to watch – almost dance like.  It is always good to see talented New Zealanders return and his rapport with the orchestra was very visible, the players following him closely as if at one with him.

Review by Rogan Falla