More Mozart From L.A. Orchestra

By the end of this year we may all run for cover when the name Mozart is mentioned.

At least the Los Angeles Mozart Orchestra offered some not-quite-so-often encountered Mozart in its Saturday night concert at the Wilshire Ebell. Richard Rintoul, principal violist of this orchestra and music director of the Colburn Chamber Orchestra, served as guest conductor.

He opened the program with the Adagio and Fugue in C minor, K. 546, an uncompromisingly stern, learned work for strings alone, in a crisp, dark-hued and polished reading. Rintoul did, however, too insistently emphasize each entrance of the fugue subject, while overlooking inner voices, to the point of monotony.

The Concerto for Flute and Harp, K. 299 followed, with harpist Marcia Dickstein and flutist Angela Schmidt as soloists. Both proved rock-solid technicians. Schmidt played with richness and clarity, Dickstein with pointed attacks and ample projection.

But Schmidt seemed contented merely to belt out the tunes; there was little shaping in her account. Dickstein tended to overstate her case, studiously underlining each crescendo and diminuendo, every variation in color and articulation. A disconcertingly long pause preceded the second movement cadenza. Rintoul and orchestra accompanied pertly and assiduously.

The Symphony No. 25 in G minor concluded the program. Rintoul balanced fleet tempos with firm oratory in the outer movements, capturing contrasting moods and eliciting clean, energetic playing from the orchestra. He revealed particular insight into the Andante, highlighting its intertwining lines and crescendos, lightly shading its frilly elegance.