Budapest Festival Orchestra: Concertino Mozart, Janáček, Grieg

About the Event

Immerse yourself in the stunning architecture of Budapest's breathtaking Liszt Academy Concert Center for the ultimate concert set to awake your understanding of classical music.

The Concertino series, showcasing chamber orchestra pieces, embarks on a northern musical voyage this time. We begin in Salzburg, where Mozart penned his Symphony No.15 after returning from his second Italian sojourn. It was in this same city that he crafted his Violin Concerto No. 5, marking his farewell to the concerto genre before he reached twenty. With this piece, Mozart ventured into new territories of technique and potential for the violin concerto. Traveling further, Janáček’s early Suite for String Orchestra will resonate from the heart of the Czech Republic. Our final stop is in Norway, where the BFO, under János Pilz's direction, will interpret Grieg’s melodies inspired by folk tunes. The evening's soloist is the Berlin Konzerthausorchester’s premier concertmaster, Suyoen Kim, who, according to The Strad, brings Mozart to life with 'charm, warmth, and fluidity.'

Mozart's Symphony No. 15, composed at sixteen, carries a gravitas that distinguishes it from his subsequent A major symphony, crafted after his Italian tour in 1771. Remarkably, a mere two months separate these works, yet the G major symphony exhibits a distinct regularity, coupled with bold tempo dynamics. It opens with a structured theme, followed by a contrasting, lush slow movement, embellished by oboe and horn nuances. A somewhat stern minuet segues into a melodious trio, and the piece culminates in a vibrant rondo.

His A major violin concerto from 1775 serves as a genre epitome. The solo violin adopts a diva‐esque demeanor: following the orchestral introduction, it hesitantly ushers in the primary theme, succeeded by a poignant aria. Triadic melodies grace all three movements. A masterfully executed, opulent second movement gives way to a rondo infused with a Turkish flair—though Hungarian ears might discern domestic undertones.

Janáček’s Suite for String Orchestra is a harmonious blend of charm, sincerity, and occasional irony. The varied instrumentation shifts from violin‐led melodies to dominant low strings. Although Janáček initially envisioned his 1877 composition as a baroque suite, the movements' departure from traditional dance motifs led him to forgo baroque titles. The suite comprises evocative, crystalline, pastoral, Beethoven‐inspired, contemplative, and somber‐heroic segments.

While Grieg is celebrated for his musical vignettes over grand symphonies, his repertoire is enriched with folk melodies. The Two Nordic Melodies bear testament to this, with 'Folk Style' painting a frosty, static tableau of rustic life. Led by the cello, the somber yet warmly harmonized slow movement contrasts with the succinct 'Cow Calling and Peasant Dance', which juxtaposes a measured melody with an exuberant dance.