ARTS&LIFE
Mozart 路concertos elegant yet路 restrained Parker trio reunite to kick off composer's birthday-bash season Parkers play Mozart
Pianos, K.365, frankly a more rewarding work, if still rather early by Mozartean standards. Much of its charm comes from the relationship between the two BY DAVID GORDON DUKE solo keyboards, who play in The first Vancouver concert of uncanny agreement, converse in what promises to be so many cel- a private language, or complete ebrating the 250th birthday of each other's sentences by turns. Mozart was also something of a Brothers Jon and James (and confamily reunion for the three ductor Mario Bernardi) were in pianists ofVancouver's celebrat- total agreement about their intered Parker clan. Brothers Jon pretation as well. All was eleKimura and James and their gance, mitigated with a sobering cousin Ian joined forces for the touch of restraint. In addition to a concluding work of Sunday after- fine sense of the work's overall noon's program with the CBC flow, there was an awareness of Radio Orchestra - the rarely the concerto's occasional high performed Concerto for Three spirits; but nothing was brash or Pianos, K.242. overstated. While the program's one-twoTossed off when Mozart was about 20, this is more an ingrati- three rationale made for first-rate ating novelty than an early mas- programming, Jon Kimura Parkterpiece, but it's not without its er's performance of the solo Conmoments, particularly the intri- certo K.467 was the climax of the cate geometry established by the afternoon. Its current popularity three soloists in the short devel- notwithstanding, the ravishing opment section of the opening K.467 is a work of sublime nearAllegro, and the charming, ultra- perfection; the multiple concersweet coda to the central Adagio. tos, for all their interest, remain The triple concerto was pre- lesser works. ceded by the Concerto for Two Presenting Jon Kimura Parker Chan Centre JanuaryS
in Mozart is casting against type. His hometown audience associates him with more showy works of the 19th and 20th centuries. His playing throughout the concerto was transparent, clean, and vital. Though the opening Allegro maestoso is fundamentally sunny, he was able occasionally to hint at an undertone of melancholy presaging the celebrated slow movement. The fmale was crisp, sly, and agile, the wit refined and graceful. JKP's cadenzas (his own?) were equally refmed, but with split-second anachronisms and quirky crossreferences to Mozart symphonies which, one likes to think, Mozart himself would have loved. Co-conspirator in this remarkable performance was Mario Bernardi. In the pantheon of our musicians, Mario Bernardi is to Mozart what Glenn Gould was to Bach. His emphasis on absolute clarity gives his interpretations a shining honesty and integrity. The CBC Orchestra a nearflawless back-up that made for concerto performances of rewarding quality.
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n James Parker (top) and Jon Kimura Parker (above) joined 路路1an Parker In a celebration of Mozart's 250th birthday at the Chan Centre.
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