There are certain rare evenings when the walls between centuries dissolve, when the spirits of long-departed composers seem to hover in the air, nodding with approval as their intentions are realized with breathtaking authenticity. Last night at Alice Tully Hall, the American Classical Orchestra, under the inspired direction of Thomas Crawford, delivered precisely such a transporting experience with its "Magnificently Mozart" program.When one opened the elegantly designed program booklet, it was clear this would be no ordinary concert. With their 19th-century accoutrements and historically accurate constructs, the ACO's commitment to period instruments transformed familiar works into vivid new sonic experiences.Illuminating Introductions: Crawford's Engaging PedagogyBefore the first notes sounded, Maestro Crawford established an extraordinary rapport with the audience through his illuminating remarks. With the affable charm and pedagogical brilliance reminiscent of Leonard Bernstein's famed talks, Crawford deftly guided listeners through the architectural scaffolding of the evening's program.Using the orchestra as his demonstration tool, Crawford illuminated the principal themes of Mozart's "Haffner" Symphony and Beethoven's Piano Concerto No. 4, having various sections play motifs in isolation before showing how these musical building blocks would later interact. His explanations were never pedantic but infused with the joyful enthusiasm of someone sharing treasured secrets, seasoned with wit that made the education feel like entertainment. Maestro Thomas Crawford and the American Classical Orchestra on stage in Lincoln Center's Alice Tully Hall in New York City. Photo by Edward KliszusMozart's "Haffner" Symphony: A Sonic Time CapsuleThe concert proper began with Mozart's Symphony No. 35 in D Major, K.385, known as the "Haffner." Commissioned in 1782 by the Haffner family for Sigmund Haffner Jr.'s ennoblement ceremony, this work has a fascinating genesis. Conceived as a serenade with more movements, Mozart later adapted it for concert performance.The ACO's rendition revealed dimensions of this familiar work rarely heard in modern performances. The period instruments' distinctive timbres allowed Mozart's intricate orchestration to emerge with crystalline, authentic clarity. With their discrete 19th-century characteristics, the strings produced a warm, rounded sound that blended perfectly with the winds without being overwhelmed. Concertmaster Edson Scheid led the violin section with precise articulation that illuminated the sprightly dotted rhythms of the opening Allegro con spirito. Young Mozart holding a music book, 1768. By Johann Eusebius Alphen, (Vienna 1742-1772). Elektromagikum, CC0, via Wikimedia CommonsCrawford's interpretation emphasized the dynamic contrasts essential to the Classical period's expression. The dramatic unison opening statement, with its majestic octave leaps, established both the work's ceremonial character and the ensemble's virtuosic capabilities. The second movement, Andante, unfolded with graceful lyricism, while the Menuetto balanced aristocratic poise with pastoral charm. The Presto finale—which Mozart directed to be played "as fast as possible"—sparkled with infectious energy and wit.Schwartz Brings Mozart's Bassoon Concerto to Vibrant LifeThe first half concluded with Mozart's Bassoon Concerto in B-flat Major, K.191, featuring the remarkable Andrew Schwartz as soloist. This work, completed when Mozart was 18 years old in 1774, is the only surviving bassoon concerto of the five he is believed to have written.Schwartz, playing a period bassoon, brought both technical brilliance and expressive depth to this challenging work. The instrument itself, more delicate and nuanced than its modern counterpart, allowed for a surprising agility, highlighting Mozart's ingenious writing for what is often considered an unwieldy instrument. Andrew Schwartz, Bassoon. Courtesy handelandhaydn.orgThe opening Allegro showcased the bassoon's remarkable range, from its characteristic low notes to surprisingly agile passages in its upper register. Schwartz navigated Mozart's demanding technical challenges—including rapid-fire note repetitions, dramatic leaps spanning nearly two octaves, and ornate trills—with apparent effortlessness while maintaining a singing tone.The Andante ma Adagio movement revealed the lyrical soul of both performer and instrument. Schwartz shaped his phrases with a vocalist's natural breathing and expression, the muted strings providing a cushion of sound that allowed the bassoon's plaintive voice to soar above. The concluding Rondo danced with aristocratic elegance and playful humor, and Schwartz and the orchestra engaged in spirited dialogue that delighted the audience.Somlai Transforms Beethoven's Fourth Piano ConcertoFollowing intermission came Beethoven's Piano Concerto No. 4 in G Major, Op. 58, with Petra Somlai performing on a fortepiano. This groundbreaking work, premiered by Beethoven in 1808, was dedicated to Archduke Rudolf, Beethoven's patron and student.Somlai's choice of instrument—a fortepiano modeled after period instruments of Beethoven's time—proved revelatory. The fortepiano's more transparent texture and quicker decay allowed for a delicate balance between soloist and orchestra that modern pianos often struggle to achieve. This was immediately apparent in the work's famous opening, where Beethoven broke tradition by having the soloist begin alone rather than waiting for an orchestral introduction. Petra Somlai, Fortepiano. Courtesy aconyc.orgSomlai's approach to this iconic opening—five gentle chords that establish both key and character—set the tone for her entire performance: thoughtful, nuanced, and deeply connected to the score's architectural logic. Her fortepiano produced a warm and articulate tone, with a clarity that allowed each note of Beethoven's complex passagework to register without becoming muddied.The central Andante con moto, often described as a dialogue between the gentle piano and aggressive strings, unfolded dramatically. Crawford shaped the orchestral responses with rhetorical precision, and the strings' articulation became gentler as the movement progressed.The Rondo finale burst forth with irrepressible energy, Somlai navigating its technical challenges with precision and exuberance. With their escalating momentum and joyful spirit, the movement's concluding passages brought the audience to its feet.Period Instruments: The Time Machine of SoundThe visual and sonic landscape created by the ACO offered a remarkable window into the orchestral world of Mozart and Beethoven's times. Following early 19th-century practice, the violins were divided left and right of the conductor, with first violins on the left and second violins on the right. This antiphonal seating allows the often dialogic writing for first and second violins to emerge more clearly than a Stokowski-inspired arrangement with cellos to the conductor's right.The string players used period bows—shorter, lighter, and more convex than their modern counterparts—naturally creating the articulated, speech-like phrasing essential to classical, early 19th-century style. Their gut strings produced a warmer, more transparent sound with a quicker response. Even how the musicians held their instruments reflected historical practice, with violinists and violists playing without chin rests. Portret van Ludwig van Beethoven. Public Domain.The woodwind section featured wooden flutes with a rounder, gentler tone than their metal descendants. The oboes have fewer keys than modern instruments, producing a more pastoral timbre. The clarinets, generally crafted of boxwood, gave a mellower, more organic sound. And Schwartz's bassoon, with its narrower bore and fewer keys, allowed for remarkable agility while maintaining the instrument's characteristic vocal quality.The brass section exemplified some of the most dramatic differences from modern practice. The natural horns without valves change pitch through embouchure control and hand-stopping within the bell, producing a distinctive timbre for each note. Similarly, the valveless trumpets create a more varied color palette. Even the timpani featured calfskin heads rather than synthetic materials, providing a resonant thud that decays quickly. Natural Trumpet in D. Metropolitan Museum of Art, DP-12679-012 CC0, via Wikimedia CommonsAlice Tully Hall: Acoustic PerfectionThe concert's setting in Alice Tully Hall provided the perfect acoustic environment for these period instruments to flourish. Since its renovation in 2009, the hall has been transformed into one of the world's premier chamber music destinations, with acoustics that pianist Wu Han has described as making it "the quietest place in New York City."The hall's African moabi wood paneling creates visual warmth and acoustic intimacy, allowing the natural sound of period instruments to project with clarity without forcing performers to oversaturate their tone. The 1,086-seat Starr Theater strikes that difficult balance between being large enough for orchestral works yet intimate enough for chamber music, making it an ideal venue for the ACO's historical approach. Maestro Thomas Crawford and Petra Somlai, fortepiano taking bows during extended applause with the American Classical Orchestra in Lincoln Center's Alice Tully Hall in New York City. Photo by Edward KliszusA Transformative Musical ExperienceFor those in attendance, the concert offered more than just beautiful music; it provided a form of time travel, transporting listeners to the sound world that Mozart and Beethoven knew. The crisp attacks, the transparent textures, the natural balances between sections, and the distinctive timbres of period instruments combine to create an authentic and fresh experience.Crawford's direction throughout was a model of elegant restraint, allowing the music's inherent architecture to emerge without imposing interpretive idiosyncrasies. His conducting combined precise technique with expressive freedom, giving the musicians clear guidance while allowing them room for their artistic contributions.In an age when classical music is sometimes treated as a museum piece, the American Classical Orchestra under Thomas Crawford proves that historical authenticity can yield performances of startling freshness and immediate impact. Last night's concert demonstrated that period instruments are not academic curiosities but vital tools for revealing the full expressive range of masterworks we thought we knew.A Musical Time Machine: American Classical Orchestra Illuminates Mozart and Beethoven at Lincoln CenterAmerican Classical OrchestraPO Box 366New YorkNY 10025-0007Office: (212) 362-2727For tickets and information, go to https://aconyc.org/. Read the full article