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Austin360 blogs > Austin Arts: Seeing Things > Archives > 2010 > October > 25 > Entry
Review: Academy of St. Martin’s in the Field with Jonathan Biss
It’s common to play Mozart’s music like the work of a child-savant, treating his long runs like whimsical math puzzles. But Friday at UT’s Bass Concert Hall, pianist Jonathan Biss took a different direction, toying with Mozart’s most mature, most un-romantic musical ideas. The results were spectacular.
Most in attendance had probably come to see their CD collection come to life, drawn by the chamber orchestra from London’s Academy of St. Martin in the Fields. So it was perhaps a surprise that pianist Jonathan Biss left a greater impression.
Just 30 years old, Biss appeared sans tuxedo tails, in the understated suit and tie of a jazz man. And he followed with a like-minded approach: humble but urbane, and very astute.
“Jeunehomme” (“Piano Concerto No. 9”) showed an intellectual, stylish Mozart, as Biss toyed with the composer’s musical ideas, and with the piano’s conversation with the orchestra.
Near the end of one cadenza, he played what sounded like a blues bass riff. It happened, and then it was gone, on to explore Mozart’s next thought.
His interpretations were full of little teases and pauses. Compared with most interpretations, Biss’ rising and falling notes felt more sustained and less flighty; more muscular and less whimsical.
It was like we were watching the pianist work in his study late at night, a feeling enhanced by the period positioning of the pianist, with his back to the audience.
Biss seemed slightly awkward, “conducting” from the piano, especially for a group that more or less directs itself.
But St. Martin’s are entertaining and spirited, with lively interpretations and an jovial sense of humor.
If they’re not always very delicate, they certainly make up for it with persuasive dynamics and movement. Besides, it’s fun to watch a violinist conduct from his chair, using raised eyebrows, nods and movements of his head.
At times during “Symphony No. 29,” the bass and cellos were hard to hear, and during the opener, the second violins suffered the same fate.
But the orchestra often does outstanding work, as with its shimmering scales in the finale’s fourth movement.
And the crowd was quite pleased, goading St. Martin’s into a brief encore, though a brief word from St. Martin’s would not have gone astray, considering it was the opening night of this small tour.
An all-Mozart concert is not usually the most enthralling program. Too many interpreters make everything Mozart ever composed resemble a frolic through the fields. But Biss’ playing may well do for Mozart what Glenn Gould did for Bach, and watching that was a thrill.
Luke Quinton is an American-Statesman freelance arts critic.
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