The Michigan Daily Wednesday, November 15, 1989 Page 7
SCHEDULE OF EVENTS
Featuring the Mozart Festival
Orchestra: Ars Musica and Guests
conducted by Roger Norrington. All
concerts in Rackham.
Thursday, 8:30 p.m.
Concerto in D Major, K 175
Concerto in A Major, K. 486
Concerto in Eb Major, K. 365
Seth and Maryse Carlin
Concerto in C Major, K. 503
- --t-C O N C E R T II
Friday, 8:30 p.m.
Overture to "Der Schauspieldirektor "K.
Concerto in C Major, K. 467
Concerto in Bb Major, K. 595
Concerto in Eb Major. K. 482
Fest features period instruments
BY SHERRILL L. BENNETT
in its props
HOW different is the orchestra of piano. The
today from the orchestra of 200 years the grand
ago? Think of how far the automo- fortepianoa
bile has come since its inception in
the earlier part of this century... and , e-
then think of how many more cen-'
turies musical instruments have been =
around. They have come a long way t
since the time of Mozart, but they
haven't changed their basic character
- in most cases.
Most of the changes are engi-
neering improvements - valves on
horns, keys on woodwind instru-
ments, more logically placed tone
holes, wider ranges, etc. The new in-
struments have more accurate intona-
tion, and quicker response (not to
mention they're a lot easier to play).'
trument that has changed
ortions and timbre is the
range and resonance of
3 piano surpasses the
and the pedal mechanism,
and key action give the grands un-
limited capacity for expressivo. To-
day's grands are far different from the
smaller, milder fortepiano keyboard
Mozart had to work with. But most
performers think nothing of playing
the grand piano concertos of Mozart
on the grand piano, and using an
orchestra of modern strings and
winds instead of the clunky instru-
ments of the 18th century. And why
not? Mozart deserves the best mod-
ern technology has to offer.
Saturday, 8:30 p.m.
Concerto in Eb Major, K. 271
Concerto in G Major, K 453
Concerto in C minor, K 491
"Mozart's Piano Concertos in Their Own
:Time and Place"
Chair: Neal Zaslaw, Cornell University
The Music of Mozart's Piano Concertos:
Form, Style, Compositional Process,
~Analysis - Session I"
'Chair: David B. Rosen, University of
"The Music of Mozart's Piano Concertos:
Form, Style, Compositional Process,
Analysis -Session II"
Chair: William Rothstein, University of
9 a.m.-12 noon
"Performing Mozart's Piano Concertos:
Instrumentation, Continuo Practice,
Physical Set-up, and the Concerto as a
Chair: Gretchen A. Wheelock, Eastman
School of Music
"The Sources of Mozart's Piano Concertos"
Chair: Cliff Eisen, New York University
9 a.m.-12 noon
"Mozart's Piano Concertos: Reflections on
the Festival/Symposium "
chair: Neal Zaslaw, Cornell University
Piano soloists rest at core of Fest's offerings
BY GREGORI ROACH
IN an undertaking as musically imense as the Michi-
gan MozartFest you could not expect only a few musi-
cians to handle the responsibilities of learning and per-
forming ten of Mozart's concerti in three days. It would
be next to impossible. Therefore the obvious solution
is to have many musicians - and lo and behold there
have appeared eleven fortepianists in Ann Arbor for this
weekend's marathon of the hands.
Each concerto will have its own soloist except for
the Concerto in E-flat Major, K. 365 (commonly re-
ferred to as the Double Concerto) which will be per-
formed by the husband and wife duo of Seth and Maryse
Carlin. This should be a somewhat interesting in that it
is rare to find two pianists who are familiar enough
with each other's playing that they can play as one per-
Other performers of particular interest are Penelope
Crawford and Eckhart Sellheim, both of whom are on
the University faculty. Crawford in particular has been
instrumental in developing the idea of the MozartFest
and organizing all the events. It was after hearing a per-
formance of Haydn's Seasons under Roger Norrington's
baton that she made the decision to ask Norrington to
be the Music Director and conductor of the MozartFest.
She will be performing Mozart's last concerto, the
Concerto in B-flat Major, K. 595.
Still more soloists who are all notable in their own
right are Malcom Bilson, Kenneth Drake, John Gib-
bons, Robert Levin, Steven Lubin, David Schrader, and
finally (but only because he is last alphabetically)
One thing about a piano concerto is that aside from a
soloist you need an orchestra. And wouldn't it be con-
venient if one of the leading period instrument orches-
tras in the U.S. were based here in Ann Arbor. Well,
once again fate has been good and Ars Musica, which
easily fits the prior description, will make up the core
of the MozartFest Orchestra. Because of the amount of
music to be performed, Ars Musica will be augmented
with some of the top period instrument players from
throughout North America.
The players have all arrived and the hall is ready. All
that is left to do is wait for Roger Norrington to give
the downbeat tomorrow night.
Roger Norrington, renowned for mounting intensive composer-oriented
music festivals, is Music Director of the MozartFest and conductor of
the Festival Orchestra.
presents an Experience
BY GREGORI ROACH
WHAT does it take to accomplish something like the MozartFest? Think
about it. Ten of Mozart's piano concerti, eleven soloists, an 18th century
dance scholar, six symposiums, five lecturers, and an orchestra made up of
instuments that have been out of fashion for a century and a half. Add to
that a three and a half day time limit and you have the makings of one hell
of an anxiety attack! Or so it would seem.
First, there must be a group crazy enough to put on and organize some-
thing of this magnitude. That credit can go to U-M's own University Musi-
cal Society and the School of Music. Second, there must be a unifying force
behind the program. Something consistent, a constant among the ever
changing variables such as soloists, the different works, even an orchestra
that will be rotating players in and out due to the sheer amount of music to
be performed. It may seem incredible, but this responsiblity falls on the
shoulders of one person, Roger Norrington.
As the conductor of the MozartFest Orchestra, Norrington, an Oxford-
bred Cambridge-educated performer/scholar, faces the monumental task of
bringing together numerous performers not only in tempo and dynamic
levels but also in trying to recreate the spirit that surrounded the first per-
formances of these ten concerti. Accomplishing this will be a truly incredi-
Norrington, 55, has with his acclaimed period performances/academic
symposiums (known as his musical "Experiences") reached a level of inter-
national recognition reserved for only a few conductors, and his recordings
with the group he founded in1978, the London Classical Players. His
meticulous attention to original score markings and composers' notes along
with the fact that he is an outstanding conductor have made him one of the
foremost period performers in the world. Norrington is also known as an ac-
complished opera conductor in both the fields of period and contemporary
performance. A major recording project in the future is the planned release of
Mozart's Magic Flute in time for the 200th anniversary of its composition.
So far there have been Beethoven, Berlioz, Haydn, and Mozart Experi-
ences which consisted of a whole weekend of open rehearsals, informal lec-
tures, and of course, concerts that have given participants and casual listen-
ers alike a chance to re-evaluate what has come to be considered authentic
performance. This opportunity to try to understand what the composer really
was trying to say has been greeted with cheers from almost all parts of the
classical music spectrum and is basically what this week's MozartFest is
trying to accomplish.
One of the interesting twists to the MozartFest is the fact that tradition-
ally, the soloist is in the spotlight and is given interpretive freedom. But
this is Norrington's show. It will take an imense amount of muscianship,
cooperation, and maybe even a little luck for the ten (the duo of the Carlins
can be considered a single entity) different soloists and their ten different in-
terpretations to conform with Norrington's vision of what Mozart himself
might have intended.
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