Sinfonia Smith Square discovered unity in mystery
Performed by the talented fellows of Sinfonia Smith Square, ‘Mysteries: Beethoven and Mozart’ was a dazzling contribution to the London Festival of Chamber Music. The programme opened with Beethoven’s Cello Sonata No.5 in D major, Op. 102 No. 2, an introspective and experimental work typical of his late style, followed by Mozart’s Sinfonia Concertante, a lively piece composed during the young Mozart’s tour of Europe (1778-1779). Juxtaposing Beethoven’s late style with Mozart’s youthful voice proved particularly compelling in performance. After the interval, the programme then returned to Beethoven, concluding with his Triple Concerto for Violin, Cello, and Piano in C major, Op. 56, written in the early 1800s as the composer began to go deaf.
In the capable hands of cellist Paul Watkins and pianist Alessio Bax, Beethoven’s Cello Sonata No. 5 was a captivating experience. The Allegro hinted at a delicate rapport between the two performers, while the ensuing Adagio was soft, sensitive and positively dripping with dynamic contrast. In a venue like Smith Square Hall, with its grand Corinthian columns, lofty ceilings and sweeping golden chandelier, the effect was enchanting. Every sustained legato filled the hall, commanding the space with a sombre grace. The Allegro, too, had real character, with the faster pace allowing for a little extra flourish from the pianist.
Moving into Mozart’s exuberant Sinfonia Concertante, the interplay between violinist Alena Baeva and violist Lawrence Power was just as impressive. The pair were remarkably responsive to one another throughout, creating an intimate dialogue that was fascinating both aurally and visually. Far too often, the poor viola is on the receiving end of a great many mean-spirited jokes while the violin steals the spotlight, but in Sinfonia Concertante, the viola and the violin share the spotlight as co-soloists in conversation with the orchestra. Alena Baeva and Lawrence Power embraced this rare opportunity, offering up a feast of coy exchanges that felt deliciously flirtatious.
It always makes such a difference when you can feel the performers enjoying themselves on stage, completely engrossed in the music. Baeva and Power should be applauded for their presence. The orchestra, in turn, matched the soloists’ energy, driven by the exacting baton of conductor Paul Watkins, who was practically jumping up and down in the final bars of the Presto. This momentum then carried seamlessly into Beethoven’s Triple Concerto, producing a unified sound that was fittingly majestic. Right up until the final Rondo all Polacca, every performer was beautifully in sync with one another, listening and responding as one; it was this unity between musicians that ultimately made for a very special concert. Brava, really.