by Daniel Hathaway
The first weekend of the third year of Dutch conductor Ton Koopman’s productive residency with The Cleveland Orchestra gave Severance Hall audiences a new perspective on three Viennese classical works by Mozart and Haydn, introduced a French baroque descriptive piece by a composer the orchestra has never tackled before, and brought a true novelty to light: a late eighteenth century showpiece starring timpanist Paul Yancich.
To be precise, only half of The Cleveland Orchestra was playing on the East side of East Boulevard on Saturday evening, May 4 — the rest of the musicians had been involved all week with the two-concert series “California Masterworks” at the Cleveland Museum of Art. For Mozart’s Symphony No. 1 in E-flat, the Severance stage was set up for a period-sized ensemble of fifteen violins, six violas, four cellos and four basses, and pairs of oboes and horns. [Read more…]