A class act: Augustin Hadelich plays Mozart on tour with Andrew Manze

The Mozarteumorchester, Salzburg and Andrew Manze travelled to Tonhalle, Düsseldorf for the final night of their 2024 tour of Germany after concerts in Munich, Hamburg, Coesfeld, and Cologne. With violinist, Augustin Hadelich in tow, and a programme of Mozart and Beethoven, plus a dash of Wagner, anticipation mounted in the majestic Mendelssohn-Saal.

Wagner’s Siegfried Idyll gave an indication of things to come. Beautifully placed pianissimos, exciting climaxes, ethereal string crossings, delicate twitterings and cascading clarinets transported us to a mystical Germanic woodland. Manze’s unobtrusive and relaxed conducting style allowed each instrumental voice to come to the fore. With the flick of a finger or a slight curve of the left hand, less was definitely more. Gestures so tiny, yet so expressive and effective. Lyrical and ever responsive violins soared high over an indulgent and sensuous harmonic cushion, punctuated by sometimes questioning horns. Quite a celebration for the birth of Wagner’s son.

A class act | Augustin Hadelich

Joining the stage for the first of two Mozart offerings: Augustin Hadelich, the gentle giant of the violin world. His violin by Giuseppe Guarneri del Gesù known as the “Leduc/Szerying” (which Hadelich had first seen many years ago as a centrefold in The Strad magazine) is quite beautiful. Having switched from his previous Stradivarius in 2020, I pondered how might this violin have performed Mozart’s Violin Concerto no. 5 in A major soon after its premiere in 1775, something it continues to this day, almost 250 years later. While this is case for violinists and violins all over the world, the reverence which Hadelich affords his instrument and the veneration he bestows on Mozart, a composer who he believes challenges a violinist like no other, made this Guarneri’s presence all the more poignant.

Not one, but two Mozart Concertos

No. 5 in A major KV 219 and No 2. in D major KV 211

Hadelich’s trademark precise articulation was immediately on display. His clean focus and immediacy of sound, created by one of the finest bow arms on the circuit, is a true inspiration to the many buddy violinists to whom these concertos are the door to a world of opportunity. And with great attention to both the length and ends of phrases, Hadelich was the master storyteller.

Nothing was forced, no hard edges. Even in the rests, a sharp intake of breath or a raised eyebrow touched the sound. The four cheeky down bows to finish the Rondo’s first solo entry drew smiles. Musicianship from all on stage sounded as fresh as one would expect from the first night of a tour and not the last.

Augustin Hadelich Mozarteum Orchester Salzburg pictured earlier in the week in the elbphilharmonie, Hamburg | © Sebastian Madej — Augustin Hadelich Mozarteum Orchester Salzburg pictured earlier in the week in the Elbphilharmonie, Hamburg | © Sebastian Madej

Full of ‘Turkish’ bravura and stomping feet, the Rondeau set off at a ferocious speed. Exciting swells and thrashing col legno bows positively pounded the strings. Violent accents surged through the fray, channelling all things Sturm und Drang, committing the previously refined and genteel Galant style to a distant memory.

The cadenzas

The jewel in the crown, however, was the understated virtuosity of Hadelich’s many cadenzas, all available for download on his website. Amongst all the twittering and highly operatic declamations, these creations take Mozart’s score as a starting point and add a huge dollop of virtuosity and humour. Laden with chords high up the strings, artificial harmonics, and double-stopped and little finger trills because, why not…? Such was the technical brilliance of these challenging marvels, that all eyes remained firmly fixed on the man with the Italian violin, wearing a cheeky scarlet-red-lined suit.

Taking a bow. Augustin Hadelich with Andrew Manze and the Mozarteumorchester, Salzburg © Clare Varney

Beethoven’s Eighth Symphony

Launching straight into Beethoven’s Eighth Symphony after the wizardry of Hadelich’s encore – Wild Fiddler’s Rag – seemed like a natural retort. Full of demonic energy, poise and panache, Manze created a satisfying intensity. Momentary reflection hung low before the cello’s rising arpeggios thrust us back into the fire, complete with rampant horns. Fragments flew around in the Scherzando, giving a real chamber music feel. A wild fugal Finale, underpinned by a wallowing bass line, felt like a feral animal trying to break free, yet repeatedly restrained. What a marvellous conclusion to MOS’s 2024 Germany tour.

Truly a night to remember.