MUSIC REVIEWS : Cerovsek Establishes a Double Standard

Even Mozart had to give it up. One suspects that he knew that it looked too much like a stunt, and he desperately wanted to be taken seriously as a composer.

He had dazzled half of Europe it seemed with his precocious displays of virtuosity on piano and violin. As late as 1775, when he was 19, Mozart wrote his five violin concertos, and played them himself in concert. Immediately, putting his violin down and moving over to the piano, he would then demonstrate his prowess there. But he did eventually give up dual roles.

Now 20, the Canadian violin and piano prodigy Corey Cerovsek--heard Saturday night with the Mozart Camerata at St. Andrew’s Presbyterian Church in Newport Beach--should consider the same. He’s too good not to.

Appearing first as piano soloist, in Mozart’s D-minor Concerto, K. 466, then (presto!) as violin soloist, in Mozart’s G-major Concerto, K. 216, Cerovsek would seem to have few faults, and many strengths. But one’s first thought is, wow, he can do both as if he juggled and ate fire.

He gave a firmly accented, clear-textured, clean and songful performance of the D-minor Concerto. Though his tendency in phrasing is a youthful pushing-ahead, he never left anything without some telling detail or curve or shading.

It was interesting to hear the same personality come through in the violin concerto. He still moved ahead consistently--without actually leaving the orchestra behind--but his technique was effortless, his tone rich and even and his manner communicative, authoritative, spirited.

In both concertos, conductor Ami Porat and the Camerata offered polished, supportive, faceted accompaniments.

The concert, concluded with the Symphony No. 39, K. 543, in an assured and engaging reading, nicely balanced between a warm, generous lilt and a vigorous drive. Bach’s “Air on the G String” served as the lush, unabashedly Romanticized encore.