Review: Mozart’s Great G Minor Symphony at Belk Theater
By Perry Tannenbaum
April 24, 2021, Charlotte, NC – Exactly one year after I last saw the Charlotte Symphony in live performance at Belk Theater, the Orchestra returned to that same stage with music director Christopher Warren-Green at the podium. Much had changed. String players were all masked in the midst of the ongoing pandemic – and socially distanced, reducing their number to 22. Performing with the Symphony strings for the first time in a year, seven wind players were spread out across the upstage, socially distanced from one another, even more distanced from the strings, and slightly elevated above them.
Apparently, the spread left no room for the two clarinets that Mozart added to his revised version of Symphony No. 40, so originalism was forced to prevail. The most heartbreaking austerity, however, was the continued absence of an audience, myself included. Keeping Mozart under wraps for seven Saturdays, along with Handel’s “Entrance of the Queen of Sheba,” Symphony did not stream their March 6 concert until this past weekend.
That seemed more than ample time to perfect the audio and engineering for prime time, but when I screened the concert on Saturday on my desktop computer, feeding the audio to my estimable home theater setup, my audiophile sensibilities were appalled by the missing clarity, definition, transparency, and stereo imaging that emerged from my loudspeakers. Hoping for an enhanced experience, I switched to the YouTube version and streamed the concert through the same sound system on Chromecast.
The difference was decisive. All the sounds blossomed and fell into place. It was emotional for me just to see principal oboist Hollis Ulaky and principal English hornist Terry Maskin returning to action on Saturday night after their long absence, playing prominent roles almost from the opening measures as they personified the Queen of Sheba while the strings represented King Solomon and his court. But I needed the YouTube version to discern Maskin layering onto Ulaky with a second oboe and to fully savor the beauty of their duets.
“Entrance of the Queen of Sheba” might seem to demand a solemn, stately tempo to evoke the arrival of a monarch bearing gifts and questions, but Warren-Green took the music from Act 3 of Solomon – a biblical oratorio that should be performed more often in full, like Handel’s Saul, Joshua, and Deborah – at a brisk pace that infused the occasion with merriment and excitement. I’ve heard performances that were even swifter, but the pace that Warren-Green chose allowed the interpolations of the twin winds to sound relatively reposeful. Any worry that the Queen would become unduly effeminate was silenced by the presence of flutist Erinn Frechette, who remained stolidly masked as she sat beside the oboists. The bustle of the strings, answering the oboes, was beautifully blithe and textured, the first violins securely on the left side of the YouTube sound image.
Under normal circumstances, we would have presumably seen the two clarinets onstage that Mozart added with his afterthoughts, but I wonder how many more Charlotte Symphony string players would have been deployed. The balance between the winds and the strings was noticeably tilted toward the upstage winds, particularly in the slow Andante movement that follows the familiar Molto allegro that engraves this masterwork in our memories. Throbbing just a little more prominently in the background, the bassoons and French horns supplied the forlorn music with its pulse. In the Menuetto, where martial urgency battled against leisurely elegance in triple meter, Frechette joined with the oboes for the final bars in delivering the unexpected victory to elegance. Far from distressing me, these new emphases consistently brought delight.
Again, I needed the YouTube stream in the finely judged Molto allegro to fully perceive the separation between the sections and fully appreciate the silkiness of the strings where they needed to glide – and their crispness each time they needed to make a point. Midway through this opening movement, the orchestra masterfully executed the intricate quasi-fugal layering of Mozart’s main theme as various sections juggled it and took turns seizing our attention. Frechette and Ulaky were the most eloquent voices in the beguiling dialogue between strings and winds in the Andante, where Warren-Green built the lurking turbulence to the brink of an outcry, granting it the power of insistence before the delicacy and transparency of the strings reclaimed dominance.
In his personable introductory remarks, resident conductor Christopher James Lees earmarked the Menuetto rather than the outer movements as the spot where Mozart anticipated the glories of Beethoven, still a teenager when the “Great G Minor Symphony” was written in 1788 – but it didn’t sound as if Warren-Green and his ensemble had gotten the memo. Maybe more strings would have helped Lees’ words to ring more true, for the battle waged in this movement for rhythmic supremacy remained effective without bursting Mozart’s parlor.
The concluding Allegro assai was where restraint was most emphatically tossed aside, clearing the path for turbulence to occasionally prevail. While principals from the violin and cello sections weren’t in their customary chairs, musicians who moved up in rank to replace them and their absent peers breezed through the busiest passages of this symphony with the same poise as they had shown in less finger-busting episodes. Tempos charged ahead with thrilling momentum. Here the flute was more consonant with the strings, allowing the oboes and bassoons playing against the grain to stand out prominently.
Camera work from four different locations was as capable as the sound engineering, especially perceptive when the French horns, principal Byron Johns and Andrew Fierova, drew the spotlight. This 45-minute concert continues streaming through May 1, a tantalizing foretaste of that delicious moment when a real audience will reward Symphony with the real applause it so richly deserves. Mark your calendar for May 14 if you wish to be in the room where it happens, when Branford Marsalis will join the orchestra to play Jacques Ibert’s Concertino da camera.