June 17-24, 2004

musicpicks

Philadelphia Orchestra

by Peter Burwasser

classical

One of the most celebrated aspects of Mozart's genius was his mastery of almost every musical format in use in his time. No other composer in history comes close to the breadth of his range of styles, and that he achieved this in the short 35 years that he was alive is almost beyond comprehension. The delightful ritual of the late spring season of the Philadelphia Orchestra, Absolutely Mozart, always does a good job, within the limitation of three programs, in showcasing this diversity. This year, we will have concertos for piano, violin, flute and harp, and wind ensemble. There will be symphonies. There will be opera overtures and arias. And the influences of the Austrian, French and even Turkish schools of music will be woven through these concerts.

Another charming feature of Absolutely Mozart is a showcasing of blossoming young talents. Peter Oundjian returns as conductor, and will accompany pianist Jonathan Biss, soprano Sumi Jo and a number of recently retained principals of the orchestra. Although the programming is generally tilted to the sunny side of Mozart's personality, there will be a notable exception for the Piano Concerto No. 24. This magnificent work, one of only two piano concertos by Mozart in a minor key, was a major source of inspiration to Beethoven, who wondered if he would ever be able to write at the same level. Considering the source, that might qualify as one of the biggest rave reviews in history.

Thu.-Sat., June 17-19, and Tue., June 22, 8 p.m., Sun., June 20, 2 p.m., $10-$110, Kimmel Center, 300 S. Broad St., 215-893-1999.