Photos by William Neumann

                                                by Deirdre Donovan

The American Classical Orchestra had its last hurrah of the season at Lincoln Center’s Alice Tully Hall on June 5th. In their aptly named program, “Prague, Golden City of Music,” maestro Thomas Crawford raised his baton to celebrate a quartet of masters-- Josef Myslivecek, Johann Strauss, Sr., Ludwig Van Beethoven, and Wolfgang Amadeus Mozart—who composed their music in or for Prague at the 18^th century’s fin de siècle.

It was my great good luck to tuck into a seat at the Alice Tully and listen to their superb works swelling and wafting over the footlights.  Each piece offered its own surprises and musical sensibilities.  Although some concerts try to inundate you with the works of a particular composer, this performance succeeded by focusing on the fabled golden city of Prague.  There’s no doubt it was the “go-to” city for serious musicians who yearned to make a name for themselves in the music world.

The program began with Myslivecek's "Symphony in D Major."   Maestro Crawford introduced the work with a gleam in his eye, confiding in the audience that this symphony would be short and sweet.  And it was!  Myslivecek’s composed this compact symphony for two oboes, two horns, and strings in three (not the typical four) movements.  According to the program notes, three movements were de rigueur for his day.  Though the work blazed by as fast as a lightening bolt, everybody leaned in to make sure they didn’t miss any of its striking musical phrasing.  Its brevity, in fact, called to mind a phrase used by the American poet Robert Frost to describe art’s fleeting nature:  “Nothing gold can stay.”

Next up was Moldau-Klange , Op. 186 (“Sounds of Moldavia” or “Sounds of the Vitava”) by Johann Strauss, Sr.  (Yes, he is the father of Johann Strauss, Jr.) The waltz is scored for two flutes, oboe, two clarinets, bassoon, two horns, two trumpets, timpani, and strings, and is utterly delicious.   It premiered in Vienna on January 11, 1846 in the Zum Sperlbauer Ballroom by the Strauss Orchestra with the composer conducting.  But there’s a curious tale that goes along with this waltz too.  Strauss gave a “benefit concert” of Moldau-Klange in Prague in October 1945 for the flood victims of the Vitava (a tributary of the Elbe).  If not the official premiere of his work, it was the one that established him as a true humanitarian.  By the way, the joie de vivre that Strauss infused into his waltzes is no accident.  He was the son of a pub owner and was greatly influenced by tavern music, incorporating its rhythms and bright tonalities into his own work.

Two salvos from the “big guns” of the music world arrived after intermission.   Ludwig Van Beethoven’s Piano Concerto No. 1 in C major, Op. 15 opened the second half of the program.  It premiered in 1798 in Prague with the composer as soloist.  So who stole the thunder in its revival here?  Bart van Oort turned in a bravura performance on the pianoforte (a replica of the 1791 Anton Walter fortepiano that Beethoven famously played), adding historical authenticity and charm to the concerto.  In fact, the American Classical Orchestra is fast becoming the Old Guard for historically accurate performance, playing classical works as the original masters did at their premieres.

By the by, it’s a bit of a misnomer to refer to this concerto as Beethoven’s “number one.”  It actually was his third effort in the genre, with his first being written at the age of 14 but considered “immature” and rarely performed.  His concerto now labeled “number two” germinated in 1788, was performed nine months before the concert presented on the program, but was published after it.  So what’s in a name?  Well, in the case of the master’s “Piano Concerto No. 1,” a lot.  Its claim to fame is that it was his first concerto that followed in the Classical tradition and was consonant with Mozart and Haydn’s musical language.  Dubbed a “showpiece” in his day, it remains so to the present-day.

The capstone to the program was Wolfgang Amadeus Mozart’s Symphony No. 38 in D Major, K. 504, which is popularly referred to as the “Prague.”  It premiered in Prague on January 19, 1787 and was an instant hit with the critics and public alike.  Unlike most symphonies, it has only three movements.  But Mozart makes each one count.  This famous symphony still has the power to pull you in with its surprises and contrasting themes.  Yes, Mozart is Mozart is Mozart—and for good reason, he held pride of place in the program.

This program was musical alchemy at its best.  And the happy few who witnessed the one-night event enjoyed a rare treat at Lincoln Center.  Under the able baton of Crawford, founder of the American Classical Orchestra, he continues to champion “historically accurate performance styles of the Baroque and Classical repertoire” with brio.

Prague, Golden City of Music

Performed on June 5^th.

At Lincoln Center’s Alice Tully Hall

For more information on the American Classical Orchestra, visit www.aconyc.org