BY JASMINE MIDDLETON
Party animal. Revolutionist. Bohemian. Uber-famous artist with the lifestyle to match.
This is how conductor Benjamin Northey would describe 20-year-old Wolfgang Amadeus Mozart at the time he wrote Symphony No. 40 in G minor.
Within the developing climate of programs including contemporary works, and rediscovering older works outside of the traditional canon, Ben believes that there is still a place for Mozart – and it’s time we reframe and revitalise the performance of his music.
“The spirit of the music is absolute edge-of-your-seat,” Ben tells us.
“The musicians at the time would have really been challenged by it, especially in dealing with a really young composer. It was frenetic and wild – that’s the energy of 20-year-olds.”
The Melbourne Symphony Orchestra’s upcoming concert Mozart 40 positions this symphony alongside Sergei Prokofiev’s Symphony No. 1 Classical (1917) and Richard Strauss’ Oboe Concerto (1945) featuring soloist Thomas Hutchinson.
All the pieces are scored for a traditional 18th-Century-size orchestra. The Prokofiev captures the style of the Classical period in evoking the wit and clarity of Haydn and Mozart, and the Strauss looks back to the melodic nature of earlier compositional styles, combined with a late-Romantic language.
This program aims to examine threads found between the two distanced centuries.
“By the time we get to the symphony, we’re well and truly set up thematically with this vision of Mozart being an influencer –somebody who has just changed the course of musical history.”
And this piece has certainly earned a ‘legendary’ – albeit verging on ‘infamous’ – status due to its immense popularity.
“Do you know the amount of ringtones I’ve heard which were the opening theme of Mozart in a recording? It’s hilarious. I’ve actually heard a ringtone of Mozart’s Symphony No. 40 go off in a concert featuring Mozart’s Symphony No. 40, so I’m hoping to avoid that this time,” Ben laughs.
But in all seriousness, there’s certainly a lot to unpack in the symphony (past its instantly recognisable opening melody).
“It’s so cutting-edge for this period and forward-looking, and there’s just a lot to admire about this piece.
“The second movement, for me, is as good as it gets with Mozart in terms of pushing the boundaries of composition. I feel like he’s writing a little more for himself even than the audience, at this stage.”
Ben also sheds light on the finale as an example of just how bold Mozart’s sense of innovation and discovery was for the time.
“In one point, at the beginning of the development section, he cycles through all 12 semitones of a scale within a period of about five seconds, and I think that’s the first time that ever happens in music.
“I don’t know what they would have made of it in the audience – it just sounds completely discordant. And it wasn’t really used again until Schoenberg in the 20th Century.
“Had Mozart lived longer, the mind boggles to know what he would have done.”
Our infatuation with Mozart and his music has been defining among the classical music community. But what is all the fuss about?
“There’s something extraordinarily organic and inspired about his sense of invention,” Ben argues.
“Where he takes things in the music always seems like the perfect choice, and it’s always unexpected as well. He’s got a remarkable gift of this stream of consciousness.
“Mozart was looking to really engage the mind of the listener and take them places. The music is very conversational: it’s constantly shifting and mood, and it really is like talking to someone. He’s always having a sense of rhetoric; he’s asking questions of the listener and playing with their emotions.
“That’s where I think the mastery of Mozart is.”
Although, with Mozart’s iconic status comes the age-old ‘genius’ debate. Was he really ready to revolutionise music, straight out of the womb?
Ben argues that, by examining Mozart’s life and studies, we actually find more inspiration in understanding the composer’s human qualities and the efforts that led him to greatness.
“Above all, he was really well trained. I think this is something that’s often forgotten about geniuses; it’s great if the ‘genius’ is there, but without the tools to express it, it’s worthless.”
Mozart had been quite the eager student, going to Italy to study all of the music of Bach and figure out exactly how music worked.
“[Artists such as Mozart are] masters, first of the technique of composition, and then they have this open world to create in, with all the tools at their disposal. I think that’s a key message to young musicians.”
So, sorry, everyone – but it looks like even geniuses need to practise their technique.
Ben also believes that by striking the balance of programming familiar and unfamiliar music, we can reconcile the old and new in classical music and pave the way for living composers without completely rejecting the traditional canon.
In regard to the audience’s ability to adapt their reception to new music, Ben is certainly optimistic.
“It really is possible, but it requires building up a relationship with an audience that is willing to trust you, go on that journey with you, and know that it’ll be something stimulating to experience.
“They love being challenged and having that intellectual experience, as well as enjoying familiar music.”
Perhaps the best way to enjoy a healthy dose of Mozart is when it comes with plenty of balance, and Ben is quick to highlight the importance of respecting all music – new and old.
“If I look at the Melbourne Symphony Orchestra season for next year, that has a very healthy representation of new music: there’s seven premieres, we’ve got a composer in residence, and there’s quite a lot of activity in that area compared to previous years.
“That’s when the art form’s really vibrant and alive. There’s so much energy in living composers and new music to harness for orchestras. It creates a completely different kind of buzz and feeling around the concerts, and I think that’s a really crucial ingredient.”
As for making sure Mozart’s music stays relevant within this climate, Ben argues it’s all about “trying to take it back to the free-wheeling, maverick nature of how it was first performed”.
“I think there will always be a love for his music. It’s about celebrating the origins of music of the past, and how it’s brought us to now.
“To hear it live is where it’s at – that’s a completely different energy. Even though it’s familiar and well-known, not everyone has heard Mozart 40 live, and that’s exciting, too.
“There’s still a lot of people out there looking for that experience.”
See Benjamin conduct Mozart 40 with the Melbourne Symphony Orchestra, 7.30pm September 13 in the Melbourne Town Hall.
We’re excited to team up with the MSO to bring you this story — stay tuned for our next interview with the solo star of the concert, Thomas Hutchinson! 🙂
Images supplied. Benjamin captured by Julian Kingma; with orchestra by Laura Manariti.
