Backstage at the CSO: Teng Li on Mozart’s Sinfonia concertante

Phillip Huscher speaks with Principal Viola Teng Li about her upcoming solo part in Mozart’s Sinfonia concertante for violin and viola.

P.H. Mozart’s Sinfonia concertante is one of the most extraordinary concertos in his entire output. Do you recall when you first heard it?
T.L. I first heard the piece in China while I was studying at the Central Conservatory. I first performed it as an orchestra member at the Curtis Institute in 2002. I remember being asked to bring out the harmonic changes in the second viola part.

When did you first play the solo part?
It was in 2000. I was featured as a soloist with the National Chamber Orchestra, along with violinist Eunice Keem. Eunice and I were both first-prize winners at the Johansen International Competition, and the performance was part of our award.

Do you have a treasured recording of the piece?
I grew up with Gidon Kremer and Kim Kashkashian’s recording. It was one of the first video recordings I ever watched. Ms. Kashkashian has been a role model of mine ever since.

When Mozart played string quartets, he always chose to play viola rather than violin. Why do you think he had such a fondness for the instrument?
I remember going to Mozart’s house in Salzburg and seeing his viola on display. He shows his love for the viola through his music. I sometimes wonder if he preferred the viola because its register is much closer to that of the human voice. I feel it is much easier for the viola to imitate the human voice rather than the violin. I’ve imagined Mozart singing some of the melodies in this piece!

The interplay of the violin and viola throughout this work is almost theatrical, like some of the great duets in the operas. Do you feel a sense of drama in the way these two instruments converse?
Yes! There is a sense of drama throughout the whole piece. The musical tension develops as the violin and viola communicate back and forth. I can’t wait to hear how Nikolaj is going to react to me, and together we’ll keep this operatic writing alive.

In the slow movement, your two lines overlap in ways that keep the music going in an almost unbroken melody. Is that difficult to sustain over such a long stretch?
Yes, it can be a challenge to sustain the long line over the slow tempo. The most important thing for me is to know how long each phrase is, as it’s through these long phrases that we build the structure of the entire movement. I also love that there are times when the phrase is made up of our two solo lines trading on and off, and I always remind myself to allow the music to flow through the exchanging lines of our instruments.

For many musicians, Mozart epitomizes the pure classical style. Do you think of his music as formal and straitlaced?
For me, Mozart is one of the most emotional composers. His use of rhythm and harmony is never conventional. As performers, we can decide what kind of techniques to use to bring Mozart’s music alive. One might decide whether to use vibrato, lots of light air in the bow, or heavier strokes. No matter what technical tools we end up using, Mozart’s music always comes across as expressive.