For a while it was Mendelssohn and Mozart who were my obsessions but now it is Beethoven. The highlight of WASO's concert on the weekend was the performance of Beethoven's Fifth, which I thought I'd be sick of by now. But no, it was thrilling.
On Friday I'm heading to WAAPA for a concert of Beethoven's last three Piano Sonatas performed by Eri Nakagawa, can't wait.
Below is my review from the WASO concert.
WA Symphony Orchestra
Perth Concert Hall
Review: Rosalind Appleby
copyright The West Australian April 2012
“It is like going to a concert and then going out clubbing
afterwards,” said Principal Conductor Paul Daniel. He was describing the
dance-like intensity of Thomas Ades’ violin concerto Concentric Paths which
WASO were about to perform in the opening concert of the Classics series.
The concerto was composed in 2005 and stretches the
definition of a ‘classic’ but the orchestra with American violinist Kurt Nikkanen
gave a persuasive performance. Voice-breakingly high violin darted above an
orchestral accompaniment heavy with low brass and bass drum. In the grim middle
movement the violin line was punctuated by orchestral explosions and overlapped
by strings and brass, concluding with a series of long descending phrases. In
the last movement the beat alternated between groupings of two and three,
giving the effect of a dancer tripping over at regular intervals, or perhaps,
as Daniels hinted, classical musicians at a nightclub!
The 21st century classic was bracketed with
repertoire representing three centuries of music. Handel’s 18th
century Music for the Royal Fireworks was conducted with flourish by Daniel. Mark
Fitzpatrick led the brass section with bright dexterity suitable to the Baroque
era, although the density of the string sound gave a more 19th
century lushness.
The fireworks theme continued with an orchestral arrangement
of Debussy’s early 20th century piano piece Feux d’artifice. Arranger
Colin Matthews transported the fluidity of Debussy’s music into an orchestral
fantasy world. Shimmering strings and whirling woodwind evoked the glitter of
fireworks, while harp glissandi added a touch of stardust.
The 19th century was represented with an undisputed
classic of the repertoire, Beethoven’s Fifth Symphony. Daniel brought an
uncharacteristic sternness to this compact, intense symphony. The opening
movement was fast and angular which was effective but caused disarray; each
section of the orchestra had a different speed for the famous ‘fate knocking at
the door’ motif. Daniel’s careful contouring of the reflective second movement allowed
for space and silence, contrasting with the vigorous fugue of the third
movement. Daniel gave the orchestra full reign for the glorious finale, which
was delivered with blazing conviction.
ENDS
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