The Viennese of Mozart’s time considered the string quartet to be the pinnacle of chamber music, thanks in large part to the contributions of Joseph Haydn, who invented and perfected the form. Though Mozart was no slouch in this genre, he saved his boldest efforts for other, far more obscure configurations. His Divertimento in E flat for three strings was one of the first and arguably the greatest work for this combination, and his quintets (with extra viola) contain some of his most pioneering achievements.
There are many theories for his relative neglect of the quartet, but perhaps the most convincing is his love for the sound of the viola, his instrument of choice for his own chamber music performances and the instrument which becomes nearly the equal of the violin in these other two forms.
This may also explain in part Pinchas Zukerman’s lifelong infatuation with Mozart’s music. On Sunday at Symphony Center, Zukerman followed his roles as conductor and violin soloist with the Chicago Symphony Orchestra earlier in the week with another dual role as violinist and violist with members of the CSO in Mozart’s Divertimento and the String Quintet in G Minor.
One can never expect the kind of unanimity of intent from these affairs that we hear from the finest full-time ensembles, yet there can often be a compensating spontaneity. Two contrasting approaches to sound production could be heard from violinist Robert Chen and violist Zukerman in the Divertimento, and while the discrepancies in color and articulation were not in themselves objectionable, it was Chen who seemed most at home.
Zukerman holds Mozart in such regard that one cannot help but wonder if his reverence blinds him to the less sober aspects of the music. Mozart’s late chamber works often explore the same range of the human condition as his operas. While there are passages of lyric intensity and high seriousness of purpose, there are also moments of tenderness, wit and even mockery. In the trio of the second minuet, the viola line suggests a playful impishness that was bludgeoned by Zukerman’s heavy bow arm and high octane vibrato. Chen’s brighter and leaner sound seemed tailor-made for these lighter moments.
The minor key Quintet is one of Mozart’s most unrelentingly grave works, and here Zukerman’s thick sound seemed more appropriate. His arching violin lines were lovingly shaped, though his dynamic often dropped so low that accompanying players simply couldn’t find any room under him. There were other balance problems, especially Li-Kuo Chang’s viola solos in the first movement which failed to project. Perhaps the piece would have been better realized if Zukerman had remained on viola and Chen had taken up the first violin part.
Cellist John Sharp more than held his own in the Divertimento, as did violinist Blair Milton, violist Lawrence Neuman, and cellist Stephen Balderston in the Quintet. Classical review
