Camerata Taps 20th Century Too

The Mozart Camerata calls itself Classical orchestra, but this season’s programming has emphasized the chamber-music aspects of that term at least as much as its association with the stylistic period. On Sunday afternoon at St. Andrew’s Presbyterian Church, two 20th century works shared the bill with those by Cimarosa and Michael Haydn.

In “Yiskor (In Memoriam),” for viola or violin or cello and string orchestra, Hungarian-born, Israeli composer Oedeon Partos (1907-1977) took a motive from an Eastern-European Jewish chant--part of the service in memory of those who have died--and used it as the basis of a lament for victims of the Holocaust. On this occasion, with Simon Oswell as soloist, the viola’s plaintive lines spoke in dark, eloquent terms, seconded by an acerbic orchestral part. As focused as music director Ami Porat kept his band, however, one wondered if a larger orchestra might not have lent greater bite to the effect.

The printed program represented a Viola Concerto in C minor as having been penned by J.C. Bach, to whom it was attributed at its 1916 premiere. But its flavor as imbibed here--a mixture of romantic melodies and pre-Classical proportions--seemed to back program notes suggesting that true authorship was Henri Casadesus’, the French violist who introduced it to the public. Oswell’s performance emphasized its rich cantabiles with affectionate care that received finely appointed support from the orchestra.

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Similar regard for nuance animated lithe readings of the Overture to “I Traci Amanti” by Cimarosa and of the Symphony in D, P. 42, by Franz Joseph Haydn’s younger brother Michael. The symphony gave the Camerata a chance to display ensemble skills in lightning-fast dovetailing, sprightly rhythms and balanced fabrics, while affording glimmers of Haydnesque family wit.

As encore, Porat featured the strings in his own transcription of the Intermezzo from “Cavalleria rusticana,” by Mascagni.