They’re back. They’re in black. But they’re
not about to rock. In fact, the music the Los Angeles Chamber
Orchestra will play this weekend is quite a bit more sophisticated
than that of AC/DC. But we might salute them anyhow.
This year marks the 250th anniversary of the birth of Wolfgang
Amadeus Mozart.
In celebration of the occasion, LACO will be playing all 23 of
his piano concertos over a period of 15 months ““ something
never before done by an American orchestra. The 40-member orchestra
returns for another performance at Royce Hall on Sunday.
“I think Mozart is one of the most endlessly entertaining
composers,” said Jeffrey Kahane, music director of LACO, who
has been playing Mozart for 30 years without getting tired of the
composer’s works and will be conducting the concertos.
“It’s like getting to know someone in much greater
depth, and this person is a great genius of western
civilization.”
In addition to the beauty of Mozart’s compositions, their
emotional quality is also a draw. Mozart was known for his ability
to communicate emotions ranging from the humorous to the
dramatic.
“Mozart is universally loved because he touches something
very human within the audience,” Kahane said.
Sunday night’s performance, the third of seven, will be
conducted from the keyboard, as Mozart intended, which Kahane
““ himself a renowned pianist ““ describes as incredible
fun, allowing him to be both the leader and a part of the
orchestra.
“Sometimes I lead with my hands; sometimes just with my
eyes. Conducting from the keyboard is more collaborative between
the orchestra and myself, both artistically and physically, and the
players in the orchestra feel like equal partners,” he
said.
The performance will consist of three pieces: Concerto for Two
Pianos and Chamber Orchestra, an original composition by
composer-in-residence Uri Caine that takes its inspiration from
Mozart, and two Mozart piano concertos, No. 15 in B-flat major and
No. 22 in E-flat major.
No two Mozart pieces are the same, and these pieces will have a
sound different from anything LACO has played in the past. The
differences may be attributed to subtle changes in orchestration,
with each instrument having what Kahane refers to as a different
personality.
“They are all different dramas ““ each one has a
different character,” he said.
Kahane notes No. 15 as a piece particularly important in
Mozart’s development, describing it as giving the woodwind
section “a more individual and prominent role” and its
piano parts as “dazzling.”
Kahane regards No. 22, with its many opportunities for solos, as
one of the greatest of all Mozart’s pieces.
“It’s the grandest and most emotionally varied
piece, with one of his most moving and heart-rending slow
movements,” Kahane said.
Likening the experience to seeing all the plays of Shakespeare,
Kahane thinks the performances offer a great opportunity for
listeners to deepen their understanding and appreciation of
Mozart’s work, and also give them the opportunity to hear
some of his pieces that aren’t performed as frequently.
“Hearing the whole cycle, especially for people who love
music, can be a transformative experience and allows them to deepen
their understanding of his language,” Kahane said.
“(The music) is so rich, has so much variety. Each (piece) is
so different that it’s a much different experience, and as
the cycle goes on it gets more and more exciting and
interesting.”
Such excitement is only one reason for Mozart’s appeal.
Among his other attributes, the composer may have maintained his
popularity through the centuries because of the way he connects
with his audiences.
“He expresses the very deepest parts of our humanity in
all of their variety,” Kahane said. “Everything from
the depths of grief to outrageous humor.”