MOZART 250
1774 – A Retrospective
The Mozartists, Ian Page
18 January 2014

Zimmermann: Symphony in E minor
Gluck: “Par un père cruel” and “Jupiter, lance la foudre” from Iphigénie en Aulide
Anfossi: “Care pupile belle” from La finta giardiniera (UK première)
Salieri: “Sperar il caro porto” from La calamita de’ cuori (UK première)
Mozart: “Ergo interest… Quaere superna” K. 143
Mysliveček: “Pace e calma in questo segno” from Artaserse (UK première)
Mozart: Symphony No. 29 in A, K. 201
Gluck: Scene from Act 3 of Orphée et Euridice

The Mozartists‘ monumental MOZART 250 project has now reached its 10th year with an exploration of the year 1774 and the opening programme of their 2014 season. Continuing the pioneering work of Ian Page’s Classical Opera (which I first reviewed in 1998), the renamed Mozartists started MOZART 250 in 2015, the 250th anniversary of Mozart’s childhood visit to London. The project will follow his musical journey up to the year 2041, the 250th anniversary of his death.

As usual, the opening programme of the annual series places Mozart’s music in its wider musical context. Their programme “1774 – A Retrospective” gives an overview of the musical world 250 years ago when Mozart turned 18. Alongside two pieces by the young Mozart (“Ergo interest… Quaere superna” K143 and Symphony No. 29 in A, K201) were an extended scene from the Paris version of Gluck’s setting of the Orpheus legend and three UK premieres. The inclusion of premier performances is a subplot of the MOZART 250 series. Ian Page plans to include at least 100 such compositions during the project and after the first ten years, is already approaching 50.

The opening piece was the Symphony in E minor by the Silesian composer Anton Zimmermann (1741-81). He spent the bulk of his musical life in Pressburg (now Bratislava) becoming court Kapellmeister in 1776. It shows the influence of Haydn, notably his Trauer Symphony 44 with which it shares several similarities. The bustling opening Allegro is in the Sturm und Drang style with its sharply contrasting sections. It is followed by two short Haydnesque movements before a curious Finale with an ending that almost literally disappears into thin air.

This was followed by a sequence of vocal pieces featuring Sarah Dufresne and Chiara Skerath sopranos, and Alessandro Fisher, tenor. Anfossi’s “Care pupile belle” from La finta giard could perhaps have included some acting out as the tenor protagonist mistakenly attempts to kiss the hand of the local mayor rather than the intended Sandrina. The highlight came with the two concluding pieces, Mozart’s little “Ergo interest… Quaere superna” K. 143 and the UK premiere of “Pace e calma in questo segno” from Artaserse by the Prague-born but Italy-based Josef Mysliveček (1737-81), both sung beautifully by Sarah Dufresne, whose wide-ranging and agile voice included a well-controlled vibrato, a couple of ‘proper’ trills, and well-articulated runs.

The musical focus was Mozart’s Symphony No. 29 in A, K. 201 which started the second half. It came at the end of a two-year burst of symphonic composition which produced around a third of all Mozart’s symphonies and preceded a four-year pause in symphonic composition. The invigorating opening Sturm und Drang Allegro moderato is driven by almost continuous quavers while the extended Andante for muted strings goes far beyond mere eloquence. The Menuetto is punctuated by horn calls, the delicate Trio providing some balancing calm before the bustling final Allegro that bubbles over with ideas.

The evening ended with a return to Gluck with the extended 1774 Paris version of the concluding Act 3 scenes. Not only does this provide the happy ending expected by the Parisian audiences of the time, but also gives a role for Orpheus who otherwise would have stood aside while Eurydice bemoaned her fate. Of course, it also includes the ‘famous bit with Orpheus’s J’ai perdu mon Eurydice. L’amour arrives in good time to let the couple live happily evermore.

As ever with performances from The Mozartists, the instrumental playing was excellent. As well as admiration for his organisational skills in putting together the whole MOZART 250 project, I have always been impressed with Ian Page’s conducting. He seems to be at one with the music and the musicians and takes a respectful approach to both.