Harvard's Pianist Proves Playful Virtuoso

Though only 20 years old, the Pro Arte Chamber Orchestra of Boston has been named "one of the top three orchestras in the state" by the Massachusetts Cultural Council, and it fully deserves its ranking. Directed by the dynamic Gisele Ben-Dor, this professional cooperative chamber orchestra gave an inspiring Mostly-Mozart concert at Sanders Theatre last Sunday. The concert also featured guest soloist Max Levinson '94, a Resident Tutor at Lowell House and winner of the 1997 Dublin Piano Competition. This was his only solo appearance this season in Boston.

Starting off the concert was a playful "Musical Birthday Card" by local composer Tom Flaherty in celebration of Pro Arte's 20th anniversary season. Though it did not have a large dynamic or mood range, the Flaherty piece was graceful, lyric, and lilting; and the orchestra man- aged its complex rhythms and harmonies masterfully.

Later came Levinson's brilliant performance of the Mozart Piano Concerto No. 20 (K. 466). This is one of the few Mozart concerti in a minor key. Of it, Levinson says, "I chose it because, of all the Mozart concerti I have played, it is the most challenging for me...I can't understand it in any other way than as a piece for orchestra and piano." Nevertheless, from the moment he touched the piano keys after the orchestra's brooding introduction, the audience was captivated by the beauty and sensitivity of his style. The orchestra's tone initially seemed too bright for the mellowed tone of the piano, but the balance between accompaniment and soloist improved quickly as the piece progressed.

Levinson demonstrated a near-perfect understanding of the music, bringing out both its seriousness and its light-hearted and playful moments. The "Romanza" felt slightly rushed--he might have lingered a little more lovingly on the beautiful opening theme, which ended up sounding rather nervous. However, when this theme was repeated toward the end of the movement, his tempo was perfect. Likewise, the orchestra achieved a more peaceful sound appropriate for the Romanza.

Following this, the pianist launched immediately and surprisingly into the Rondo, a rollicking movement with many mood changes. Levinson exhibited a remarkable appreciation of these mood changes and an amazingly fluid technique. The orchestra performed its part admirably, fully capturing the excitement so eloquently expressed by Ben-Dor's movements on the podium.

After the intermission, the audience had the privilege of hearing one of the rare performances of Mozart's first symphony, composed when he was only eight. The symphony form was still in a formative phase at this time, and included only strings and a few select wind instruments. Mozart composed this piece in his spare time while attending his sick father in London, and, so the story goes, said to his sister Nannerl, "Remind me to give the horn something worthwhile to do!" If that were not enough to stagger anyone, there are moments of soaring loveliness in this Symphony. It has the clarity of sound and rhythm of the Baroque style, though at one point the piece breaks into a hemiola of three-against-two that was highly unusual for its time. The Symphony is cute and simple, though surprisingly mature in its nuances.

The next piece, Mozart's Symphony No. 35 (the "Haffner"), formed a striking contrast. By the clever concert arrangement, one could easily discern the differences between the two pieces and thus fully appreciate the latter, with its beautiful complexities of form, broadened musical imagination, and different instrumental voices. The orchestra conveyed these developments superbly. The symphony was named after Mozart's childhood friend Sigmund Haffner, to celebrate his elevation to the nobility. Appropriately, the first movement is full of pomp and flair, with dramatic octave leaps and running scales. The Andante is warm and almost romantic in style, though filled with unmistakable Mozartian phrases. The Minuet juxtaposes an energetic main section with a flowing, graceful Trio. But especially impressive is the Finale, which the orchestra pulled off with the faultless precision and excellent dynamic range that is required for the movement. It has a grand, triumphant style that seems to signify a victory that even the audience can share.

Indeed, this concert was a victory for Pro Arte and for soloist Levinson. Both deserve to be proud of themselves for delivering an enjoyable and thoroughly well-prepared performance

Later came Levinson's brilliant performance of the Mozart Piano Concerto No. 20 (K. 466). This is one of the few Mozart concerti in a minor key. Of it, Levinson says, "I chose it because, of all the Mozart concerti I have played, it is the most challenging for me...I can't understand it in any other way than as a piece for orchestra and piano." Nevertheless, from the moment he touched the piano keys after the orchestra's brooding introduction, the audience was captivated by the beauty and sensitivity of his style. The orchestra's tone initially seemed too bright for the mellowed tone of the piano, but the balance between accompaniment and soloist improved quickly as the piece progressed.

Levinson demonstrated a near-perfect understanding of the music, bringing out both its seriousness and its light-hearted and playful moments. The "Romanza" felt slightly rushed--he might have lingered a little more lovingly on the beautiful opening theme, which ended up sounding rather nervous. However, when this theme was repeated toward the end of the movement, his tempo was perfect. Likewise, the orchestra achieved a more peaceful sound appropriate for the Romanza.

Following this, the pianist launched immediately and surprisingly into the Rondo, a rollicking movement with many mood changes. Levinson exhibited a remarkable appreciation of these mood changes and an amazingly fluid technique. The orchestra performed its part admirably, fully capturing the excitement so eloquently expressed by Ben-Dor's movements on the podium.

After the intermission, the audience had the privilege of hearing one of the rare performances of Mozart's first symphony, composed when he was only eight. The symphony form was still in a formative phase at this time, and included only strings and a few select wind instruments. Mozart composed this piece in his spare time while attending his sick father in London, and, so the story goes, said to his sister Nannerl, "Remind me to give the horn something worthwhile to do!" If that were not enough to stagger anyone, there are moments of soaring loveliness in this Symphony. It has the clarity of sound and rhythm of the Baroque style, though at one point the piece breaks into a hemiola of three-against-two that was highly unusual for its time. The Symphony is cute and simple, though surprisingly mature in its nuances.

The next piece, Mozart's Symphony No. 35 (the "Haffner"), formed a striking contrast. By the clever concert arrangement, one could easily discern the differences between the two pieces and thus fully appreciate the latter, with its beautiful complexities of form, broadened musical imagination, and different instrumental voices. The orchestra conveyed these developments superbly. The symphony was named after Mozart's childhood friend Sigmund Haffner, to celebrate his elevation to the nobility. Appropriately, the first movement is full of pomp and flair, with dramatic octave leaps and running scales. The Andante is warm and almost romantic in style, though filled with unmistakable Mozartian phrases. The Minuet juxtaposes an energetic main section with a flowing, graceful Trio. But especially impressive is the Finale, which the orchestra pulled off with the faultless precision and excellent dynamic range that is required for the movement. It has a grand, triumphant style that seems to signify a victory that even the audience can share.

Indeed, this concert was a victory for Pro Arte and for soloist Levinson. Both deserve to be proud of themselves for delivering an enjoyable and thoroughly well-prepared performance