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Mozart - the philosopher

Friday, 9 March 2012 , ora 9.20
On 4th March, 2012, at Chisinau National Philharmonic, musicologist Cristina Paraschiv was cautiously speaking about Wolfgang Amadeus Mozart, as a preamble of the recital, recalling the mystery that has enshrouded the composer up to nowadays. For more than two hundred years, after the composer's disappearance, the artists and the historians, the researchers in the musical domain have tenaciously persevered in the total disclosure of the phenomenon. The journalists themselves have not given up asking about this topic in their interviews with famous musicians. The musical mastership remains an unrivaled experience and even a lyrical interpretation of his opus could reveal the mystery which is still encoded in Mozart`s codex.

A brave option, a real challenge

Naming his recital From Suites to Sonatas, pianist Alexei Nabiulin offered to the public three Fantasies (K.397, K.396, K 475), Sonata K 494 and different movements from various sonatas and suites. His choice awoke the interest of the lovers of music: from connoisseurs, ideologues, amateurs to diplomats and representatives of the Russian Embassy, who delivered preliminary speeches and offered flowers. The recital proved to have been a serious challenge for the pianist, and it showed the soloist`s skills as a connoisseur of the fantasy and sonata composition, rather than Mozart`s player.

Mozart remains a sealed enigma for this pianist

For the first time Mozart`s distinctiveness and mannerism, and even Mozart himself were embodied into unflattering philosophy. And while hearing every bar of the recital, I could not prevent myself from finding the answer of the following intrusive question: "What would Mozart have thought about this decipher?" And I certainly bet on his reaction, than answer. However praised and eulogized Nabiulin may be, despite of the amount of chronicles, recordings of the various Fantasies, documents, letters and research on Mozart, it would have been appropriate a fair musical approach accordingly to the atmosphere of that times.

However, the fantasy, as a mood or state, energy, vitality and humor definitely frustrated Nabiulin`s recital. Two nights ago, in the same concert-hall, I listened to him playing Concerto number 3 by Prokofiev. At that moment I blamed the conductor Secikin for a hollow reading of one of the most played piano concerts; for lack of imagination, irony, sarcasm, passion and accuracy of the score. Related to this recital there was nobody else to blame for, or ask for tenability. As a conclusion, everything I may say about this pianist is the fact that Mozart remains a sealed enigma.

The public left the concert hall of the Philharmonic whispering a well-known saying: We receive what we deserve.

Lucia Raevschi
Translated by Alinda-Gabriela Ivanov
MA Student, MTTLC, Bucharest University