"Cappella Andrea Barca" is the name of the chamber orchestra, which has been working for 20 years with Sir András Schiff. The occasion was the repeated performance of the complete Mozart piano concertos with the Salzburg Mozart week. Thus, the Pianist and conductor, demonstrated his own sense of Humor, because no one else than he is behind that name, behind which one might suspect that there is a Venetian Renaissance Prince.
Not only musical, human harmony, the selection of otherwise, as a soloist and in chamber music making of the musicians. And neither the joy of playing in the concert hall on an all-Mozart program, yet the Humor is not too short. The opening third of saturated woodwind theme in the piano Concerto in B-flat major, KV 450's bursting with humour, the brisk pace in each of the clumsiness is exaggerated. The ship reached that time from the piano, the Tutti standing to conduct, through a snap of the finger or nod of the head. Tight and tangy, also his solo part, sparkling brightly, economical pedal-coated passage-work, the dashes, however, breathless is over, but a little room for thoughtful minor-sprinklings pointedly.
This features above all the Andante, a noble singing a Handel Aria, the ship with a chromatic descending chains of Trills sound rather romantic, close and closer. The immense development of Mozart in the spring of 1784 by measurement, shows that a few weeks later, the resulting G-major piano Concerto, K. 453, with its exuberant thematic and emotional richness, produces in the Andante, with rapid major-minor contrasts the famous Mozart's "Smile under tears" and in the Finale in "Figaro"-banter dissolves. Ship does all of this with an unconventional attention to Detail compelling alive. The chamber is delighted musical to each other in the plastic dialogues with the Oboe, bassoon and Horn (played by the magnificent Marie-Luise Neunecker), the Ritardando joke just before the final Stretta.More about
András Schiff at the Philharmonic Cheerful goodbyeUdo Badelt
Such transparency and clamping force, one misses a little in the Symphony in e-flat major, K. 453, in 1789, the last triad of the opening. What to say to Mozart here, between Overture-tale opening, pain, drama, and irritating questioning at the end, remains a bit flat. In the "Depths of the spirit realm", such as E. T. A. Hoffmann was not lead it is certainly.