Toronto Symphony Orchestra: Reicha, Overture in D Major; Mozart, Piano Concerto No. 21 in C Major, K. 467; Mendelssohn, Symphony No. 3 in A Minor, Op. 56 (“Scottish”). Marta Gardolińska, conductor; Angela Hewitt, piano. March 26, 2025, Roy Thomson Hall. Repeats March 27, 29 (Roy Thomson Hall), and March 30 (George Weston Recital Hall). Ticket holders to Thursday’s concert can hear Hewitt with the TSO Chamber Soloists perform Mozart’s Quintet in E-flat Major for Piano and Winds at 6:45 p.m. Tickets here.
“Masterworks” is often used as a marketing term to promote concert programs to the general audience. At its heart, a masterwork is a piece of great music that has withstood the test of time. In glancing over season brochures, I think the term is sometimes loosely applied.
However, this is not the case with Mozart’s Piano Concerto No. 21 in C major, a work that is, without a doubt, a masterpiece.
Of the great compendia of piano repertoire, three stand out — Bach’s Well-Tempered Clavier, Beethoven’s piano sonatas, and Mozart’s piano concertos. In the later collection, No. 21 along with No. 20 in D minor are the most well known.
Angela Hewitt’s performance of this concerto, No. 21, with the Toronto Symphony Orchestra is part of her ambitious “Mozart Odyssey,” a project in which she will perform all of Mozart’s piano concertos over the course of 2024 to 2026. No stranger to milestone projects, Hewitt completed “The Bach Odyssey”, in which she performed all of Bach’s keyboard works.
We often think of a concerto as a duel between the soloist and the orchestra. In this concerto, Mozart’s craftsmanship and the interpretation of tonight’s musicians elicited a much more friendly affair, akin to a collaboration of a chamber ensemble.
Led by Marta Gardolińska, the orchestra, itself was slightly smaller, with fewer string players. Hewitt engaged in delightful musical dialogue with the orchestra — particularly with the winds. She often cast glances or made subtle arm gestures in their direction to reinforce the musical connection.
The second movement, with its famous melodic theme featured in the 1967 film Elvira Madigan, was delicate without being overly precious. Some pianists take a slower (Andante) tempo, which risks making it overly sentimental. In my view, Hewitt’s interpretation struck the right balance. It was still very poetic.
Excellent pianism was on display, especially in the third movement. The virtuosic passages always sparkled with clarity and effortlessness.
This evening’s performance showcased why Hewitt is an intelligent, thoughtful, and masterful artist. Hewitt’s frequent performances in Toronto have made her a local favourite. The audience leapt to its feet in a standing ovation, and in return, we were treated to the Aria movement from Bach’s Goldberg Variations as an encore.
Mendelssohn’s Symphony No. 3
After intermission, more wind and string players filled the stage to perform Mendelssohn’s Symphony No. 3 in A minor, Op. 56 (“Scottish”). The composition was inspired by Mendelssohn’s trip to Scotland, and in particular, a visit to the ruined chapel of Holyrood Castle near Edinburgh.
The opening melody, referred to as the “Holyrood Castle” theme, rises and falls in a manner that evokes the arches of the chapel’s windows, creating a musical reflection of its architecture. The viola section, accompanied by the winds, introduced this opening melody with a secure and present sound that left a lasting impression.
Performed without breaks between movements, the symphony’s two outer movements provide a solid anchor, while the second (Vivace non troppo) and third (Adagio) movements offer contrasts.
Gardolińska’s direction was precise and efficient, to which the orchestra responded well and delivered a committed and dynamic performance. The orchestra was in fine form, and I was particularly taken by the wind section. Principal clarinetist Eric Abramovitz’s clarinet solo in the second movement left me breathless.
Final Thoughts
The program began with Anton Reicha’s Overture in D major, a work notable for being one of the first orchestral pieces in quintuple time (5/8). Unfortunately, the piece didn’t leave a lasting impression on me.
One final note: Canadian patriotism was proudly on display with the singing of ‘O Canada’ to open the concert. Angela Hewitt also stood out in a stunning red dress, complemented by matching shoes.
Are you looking to promote an event? Have a news tip? Need to know the best events happening this weekend? Send us a note.
#LUDWIGVAN
Get the daily arts news straight to your inbox.
Sign up for the Ludwig Van Toronto e-Blast! — local classical music and opera news straight to your inbox HERE.
- SCRUTINY | Alexander Shelley & National Arts Centre Orchestra Wow Sold-Out Toronto Crowd - May 20, 2025
- PREVIEW | Pax Christi Chorale Ends Their Season With An Ambitious World Premiere - May 1, 2025
- SCRUTINY | Angela Hewitt And Toronto Symphony Orchestra Offer Thoughtful Takes On Mozart, Mendelssohn Masterworks - March 27, 2025
