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Mainly Mozart gets pick of the best

Master of the earworm in Del Mar

These aren’t just players from these prestigious orchestras. - Image by J. Kat Photo
These aren’t just players from these prestigious orchestras.

The San Diego Mainly Mozart Festival got off to a rambunctious start on Friday, June 11, 2021, at the San Diego Surf Soccer Club in Del Mar. The orchestra roster is as strong as ever. Actually, it might be stronger.

The Covid effect has given Mainly Mozart access to musicians from orchestras that are usually still in season during June. Add to that the fact that Mainly Mozart produced concerts during the quarantine. These concerts provided work to musicians who may or may not have had work otherwise.

The audience

Players from Philadelphia, Boston, New York, San Francisco, Cleveland, the Metropolitan Opera, and Los Angeles fill the roster with players from Dallas, Florida, San Diego, Cincinnati, and Indianapolis. These aren’t just players from these prestigious orchestras. These are the concertmasters and principal chairs from these prestigious orchestras.

That adds up to what could be considered the greatest orchestra currently performing anywhere in the world. That might sound like an exaggeration, but it is not.

Music director Michael Francis didn't want the fat-man-dancing-a-minuet.

To anyone who attended the opening night concert of Friday, June 11, it should have been obvious that this is a spectacular group of musicians performing spectacular music. The concert started with Mozart’s beloved Symphony No. 40. Mozart, the master of the earworm, gives us an opening melody that worms its way through our ears and into our hearts.

Video:

Minuet performed by Vienna Philharmonic

Mozart: Symphony no. 40 - III. Menuetto (Barenboim & Wiener Philharmoniker 2012)

Mozart: Symphony no. 40 - III. Menuetto (Barenboim & Wiener Philharmoniker 2012)

What stood out to me during the performance was the quick tempo taken in the third movement by music director Michael Francis. During a break in the Thursday rehearsal, I was able to ask Maestro Francis about that decision.

Ever the existentialist, Francis explained that he views this third movement as a conflict with the darkness of the human potential as opposed to the typical fat-man-dancing a minuet. The final movement then provides an answer to the conflict of the third movement.

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These aren’t just players from these prestigious orchestras. - Image by J. Kat Photo
These aren’t just players from these prestigious orchestras.

The San Diego Mainly Mozart Festival got off to a rambunctious start on Friday, June 11, 2021, at the San Diego Surf Soccer Club in Del Mar. The orchestra roster is as strong as ever. Actually, it might be stronger.

The Covid effect has given Mainly Mozart access to musicians from orchestras that are usually still in season during June. Add to that the fact that Mainly Mozart produced concerts during the quarantine. These concerts provided work to musicians who may or may not have had work otherwise.

The audience

Players from Philadelphia, Boston, New York, San Francisco, Cleveland, the Metropolitan Opera, and Los Angeles fill the roster with players from Dallas, Florida, San Diego, Cincinnati, and Indianapolis. These aren’t just players from these prestigious orchestras. These are the concertmasters and principal chairs from these prestigious orchestras.

That adds up to what could be considered the greatest orchestra currently performing anywhere in the world. That might sound like an exaggeration, but it is not.

Music director Michael Francis didn't want the fat-man-dancing-a-minuet.

To anyone who attended the opening night concert of Friday, June 11, it should have been obvious that this is a spectacular group of musicians performing spectacular music. The concert started with Mozart’s beloved Symphony No. 40. Mozart, the master of the earworm, gives us an opening melody that worms its way through our ears and into our hearts.

Video:

Minuet performed by Vienna Philharmonic

Mozart: Symphony no. 40 - III. Menuetto (Barenboim & Wiener Philharmoniker 2012)

Mozart: Symphony no. 40 - III. Menuetto (Barenboim & Wiener Philharmoniker 2012)

What stood out to me during the performance was the quick tempo taken in the third movement by music director Michael Francis. During a break in the Thursday rehearsal, I was able to ask Maestro Francis about that decision.

Ever the existentialist, Francis explained that he views this third movement as a conflict with the darkness of the human potential as opposed to the typical fat-man-dancing a minuet. The final movement then provides an answer to the conflict of the third movement.

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