INEVITABLY, a programme embracing Dvorak's 'New World' and some harmless Mozart draws in a full house. None of those nasty noisy pieces by Ravel or Bruckner or Berlioz. Nothing that smacks of the unknown or our own century. Just some good hummable pieces and some pretty violins.
All well and good, except that soloist William Preucil is no 'pretty violin'. He is that most rare of rara avi, a stellar performer in concert, chamber music and orchestra. Two of his disciplines were effected Friday evening, and the third, the intimacy of the Cleveland String Quartet, was heard in essence throughout.
As conductor and (orchestral player), he performed Mozart's tiny but interesting Divertimento, K. 137. As soloist, he performed Mozart's Fifth Violin Concerto, the longest and most substantial, this conducted by David Atherton. The Divertimento, usually played by solo strings, is frequently brushed off as a bit of Mozartean wallpaper, few bagatelles. This, though, was hardly William Preucil's version.
The result was a highly romantic opening. As conductor and violinist, he played the Andante with point and pathos, the dissonances accentuated, the minor lyrical theme played broadly. The other two movements seemed trifling but hardly superficial. Preucil made the Phil as fresh as new paint, and it shimmered in the delightful rustic third movement.
The Violin Concerto gave Preucil room to manoeuvre, and he made the most of it. His solo playing never had a heaviness or deeply romantic sound. The tunes were played with Italianate sheen and a light lyrical touch.
The opening movement wasn't quite in emotional synch. But that second movement was like an essay in phrasing, with even the minor section less a gust than a soft wind. Both Preucil and Atherton let themselves go in the final movement. The orchestra played it hard, Preucil bowed the strings down to the wood.