CUCO: Mozart and Shostakovich

Cambridge University Chamber Orchestra, Thomas Blunt (conductor), Francis Grier (pianoforte)

Saturday 14th May, West Road Concert Hall

[rating:5/5]

The pairing of Mozart and Shostakovich is intriguing, especially against the background of CUCO’s propensity for themed programmes. Having become used to hearing a small string section successfully punch above its weight in larger-scale works, it was interesting to hear them take on repertoire written for their proportions.

Francis Grier’s technical grasp of the Twenty-Fifth Piano Concerto was robust, yet the balance between pianoforte and orchestra was generally lopsided. The work is intended to be a dialogue between orchestra and pianist, yet, too often and especially in the Finale, the genius of Mozart’s filigree textures was obscured by heavy-handed pianoforte playing. Furthermore, Grier’s physical movement was, for my taste, somewhat excessive and a little distracting, and his languid gaze at the wind players during their solos was at odds with the style and character of the music. Admittedly, Mozart would not have played on a modern Steinway concert grand, but that does not render the demands of his pianoforte writing inapplicable. Apart from these balance issues, however, the performance was convincing, with only a momentary lapse of intonation. The genial character so often associated with Mozart was sensitively evoked without undue exaggeration, whilst also giving sufficient space for the more lyrical sections, especially in the slow movement.

Shostakovich’s Chamber Symphony began life as his Fourth String Quartet, yet the textural and timbral complexity of Rudolf Barshai’s orchestration belies this origin. Despite the use of single wind, there was no shortage of auxiliary instruments: bass clarinet, contrabassoon, and (Shostakovich’s favourite) the piccolo. Yet Barshai’s orchestration was more subtle than to simply pander to the clichés of Shostakovich’s symphonic writing: appropriately, the side drum (with its militaristic connotations) was absent, whilst there was plentiful tuned percussion (a xylophone, marimbaphone, and celesta).

As the work’s title suggests, however, the challenges posed by chamber music are by no means obviated by the size of the ensemble. But in the hands of CUCO, this did not pose any problems: the numerous soloistic lines were masterfully reconciled with the accompanimental parts. Intonation never flagged in the exposed unison and octave doublings, and the character was always coherent. The main clarinet solo (played by Joseph Shiner) was particularly impressive – metronomically accurate and appropriately restrained in tone. Meanwhile, the overwhelming agony expressed in an extremely high passage for violins and horns was arresting and powerful, without compromising on intonation or control. If anything, it may have been even more compelling had it betrayed something more of the physical strain entailed in its production.

The concert concluded with more Mozart; the Haffner Symphony. Again, CUCO compellingly captured the jovial, the lyrical, and of course the surprising facets of the work. The sudden contrasts of dynamics were dramatic without being excessive, bringing to life the sudden changes of texture and key. Despite the disjunct leaps that characterise the first movement, the phraseology was undisrupted, and the dynamics controlled. Thomas Blunt’s tempi were judicious and stable, resisting the temptation for undue rubato in the second (slow) movement. The balance between the contrasting elements of the texture was exemplary; legato and staccato passages were combined with great clarity. The third and fourth movement were taken slowly, yet CUCO lent an articulate expression and coherence to every note, justifying their tempo and enabling the sophisticated details of Mozart’s writing to emerge in their scintillating effulgence.

Earlier this season, CUCO had demonstrated a deep understanding of particular composers and styles. In this concert, the players demonstrated versatility and originality that certainly surpasses anything else in the student music scene, and rivals experienced professionals. Whilst the small size of the orchestra is naturally conducive to the unity that marks out their playing, such an achievement is not to be trivialised, especially in the case of the repertoire we heard tonight. There is simply nowhere to hide in Mozart, and the soloistic nature of the Shostakovich orchestration puts the onus upon every individual player to be astutely musical. CUCO met these challenges with aplomb.