Had Wolfgang Amadeus Mozart been in Schwab Auditorium Saturday night, he would have been proud to hear The Mozartean Players Chamber Orchestra's performance of his music.

On the eve of the composer's 235th birthday, the ensemble reproduced music that might have sounded the same to Mozart. This is because the ensemble used actual, classical-period instruments, either constructed in the 18th century or copied from 18th-century models.

The use of these original instruments created a lighter and more delicate sound than modern instruments would have produced, and allowed the audience to hear each of the different sections more clearly. Although many different themes ran through the concert's final piece, Piano Concerto in F Major, K. 459, the prominent melodic lines played by the flute and oboe were not buried by the rest of the orchestra.

Steven Lubin, The Mozartean Players' soloist and conductor, brilliantly played fortepiano on the Piano Concerto in F Major, K. 459 and Piano Concerto in A Major, K. 414. With a look of concentration on his face, Lubin dramatically interpreted Mozart's cadenzas from a fortepiano propped on a riser behind the orchestra.

Interestingly, Lubin decided to conduct the orchestra from this position rather than place the fortepiano in front of the orchestra in the style of a modern conductor.

Lubin did, however, come down in front of the orchestra to conduct Mozart's Symphony in A Major, K. 201, but he did not play a major interpretive role. His movements were subtle, and for the most part he let the music speak for itself.

Because much of the orchestra could not see Lubin during the two piano concertos, the principal violinist led the group as he sat on the seat's edge and made vigorous body movements. The entire string section performed as if it were a single instrument, playing with beautiful tone quality and deftly executing dynamic changes.

Schwab proved to be the perfect setting for the group's gentle sound. In a large music hall, the audience might not have absorbed this performance's intimacy and acoustic quality.