New Set Of Keys Unlocks Expression

Sydney Morning Herald

Tuesday November 14, 2006

Reviewed by David Vance

MOZART TRIPLE FORTE

Australian Brandenburg Orchestra

City Recital Hall, November 11

CELEBRATING the arrival of its latest pride and joy of purpose-built instruments, a handsome new fortepiano, itself a faithful replica of Mozart's 1770 instrument, this program was marked by a sense of playfulness, beginning with the title: Mozart Triple Forte.

It referred to the performance of Mozart's concerto of 1776 for three fortepianos. While the fortepiano is incapable of playing triple forte (fff), even when played in triplicate, the combination of the three instruments amplified the textural possibilities of a device which represented a sophisticated and significant development over the harpsichord.

The fortepiano can play both loudly (forte) and softly (piano) and with subtle dynamic gradations in between. It also allows greater clarity of sound, rapid articulations, and distinct timbral difference within its low, middle and high registers.

All this spells a decided expressive advantage, and while the fortepiano may sound somewhat fragile to modern ears, this is also part of its appeal.

Wonderfully played by Neal Peres da Costa, David Blunden and the Brandenburg's director, Paul Dyer, these instruments shone brightly in a performance that captured both the wit and joie de vivre of a young composer revelling in the musical possibilities of his preferred keyboard. An arrangement of Mozart's aria Un moto di gioia offered an amusing and delightful encore for these three pianos and their virtuosic exponents.

Playful, too, was Kirsty McCahon's account of the second of Dittersdorf's concertos for double bass. McCahon not so much played as cavorted with her unwieldy instrument in a performance so engaging that the occasional moment of dubious intonation barely detracted from the palpable sense of fun she had in extracting the humour of this largely sunny work.

A more serious second half brought the real highlights for which Dyer, first as soloist then as conductor, was responsible: an elegant reading of Mozart's A minor Rondo, K511, and an exhilarating, perceptive and thoroughly compelling performance of Mozart's Symphony No. 40, both of which deserve committing to disc immediately.

© 2006 Sydney Morning Herald

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