Prokofiev Winner Offers Unerring Mozart

Robert Thies, whose December coup at the Second International Prokofiev Piano Competition made him the first American pianist to take top prize in a Russian contest since 1958, kept previously scheduled dates to appear with the Mozart Camerata this weekend. On Sunday afternoon, in the second of two identical programs, he played Mozart’s Piano Concerto in A, K. 488, with unerring, warm-toned refinement.

In a self-contained, unpretentious solo, given at St. Andrew’s Presbyterian Church, Thies revealed clean, thoughtful passages, full of muted shades, judicious glimmers of power and--in the Allegro assai--touches of playful contrast. Music Director Ami Porat led his band in a sympathetic accompaniment but could not bring it into consistent balance until the third movement. Woodwind players dovetailed the pianist’s sensitive phrasing with stylish faithfulness. Horns cracked and missed pitches in key entrances, with a particularly frustrating bungle following one of the most probing and moving moments of the pianist’s Adagio.

After the concerto, Thies switched gears for an encore, “The Montagues and Capulets”--from Prokofiev’s piano arrangement of 10 Pieces from the ballet “Romeo and Juliet”--offered with unswerving command.

Without Thies, the orchestra offered engaging readings of two works by Mendelssohn. Porat conducted an evocative “Hebrides” Overture, marked by dramatic tempo changes, larger-than-life melodies and quiet mystery. Clarinetists Carolyn Tobin and Helen Goode lent romantic wistfulness to their duos.

The “Italian” Symphony received a rousing and generally clean performance in which hornists Paul Stevens and Linda Duffin redeemed themselves for previous indiscretions and flutists Patti Cloud and Kathy Dyer set the pace for a light Saltarello.