To see what was missing, you had only to wait for principal clarinetist Jon Manasse’s three short solos in the Beethoven Adagio, which arose softly, hesitantly, from the surrounding orchestral fabric and then blossomed into passionate, full-toned utterance, taking as much time on each note as felt right, supported with tender care and exquisite precision by Järvi and the other players. These were magical moments, filled with all the existential wonder and quietness of heart that the Mozart should have had, but didn’t.
