Another tremendous concert by the Willoughby Symphony Orchestra. MAJESTIC MOZART was triumphant and thrilling, with the audience enthusiastically screaming bravo at the end .
Under the umbrella title ‘Majestic Mozart’ this time the conductor was maestro Alexander Briger who led the orchestra with a controlled, finicky yet delicate and precise touch.
First up was Ravel’s ‘Le Tombeau de Couperin’ , here in the 1919 four movements for orchestra version ,which had almost a fairytale pastoral feel to it with possible Debussy influences . The work was given a luminous performance of delicate poise.
Ravel wanted to play homage to the French Baroque suite and each movement is dedicated to the memory of a friend of the composer (or in one case, two brothers) who had died fighting in World War I. Repetition and lyricism were important in the second movement and the third movement had a fresh, vibrant feel . Baroque practice is also revived with Ravel’s idiosyncratic use of ornamentation and modal harmony. Neoclassicism is also evident, however, in Ravel’s obviously twentieth-century chromatic melody and piquant harmonies, especially in the somewhat dissonant ‘Forlane ‘.
Special guest soloist, internationally renowned Jane Rutter (organiser of the delightful ‘ Live at Lunch ‘series at the Concourse) ,was the star for Mozart’s dazzling flute concerto.
Rutter was stunning in a long blue evening gown with a spectacular diamante brooch waist clip. She gave a spectacular performance using her special gold flute.
The work is typical Mozart in its expressive power, imaginative workmanship and grace .In the first movement the notes were bright and sparkling, cascading like a bird. The second movement, especially, was the showcase for Rutter on the flute, which was lyrical and soared in delicious elegance and melody. In essence, the second movement, is a dialogue between the strings (often pizzicato) and flute. The third movement was also ravishing and exquisite.
The audience reaction was such that Rutter gave a short speech about the history of the work and Mozart’s composition of it (allegedly Mozart did not like the flute) and we heard the ‘alternative ‘ version written for De Jean the first performer .
After interval, came the weighty ‘Eroica’ Symphony by Beethoven, his Symphony No. 3 in E-flat major, Op. 55, with its many layers of textures and meaning in a splendid performance. (This symphony famously is the one to which Beethoven tore up his dedication to Bonaparte).
First performed in 1805 ,this symphony is widely regarded as a mature expression of the classical period of the late eighteenth century yet it also shows defining features of the ‘ Romantic style that would dominate the nineteenth century and marks the arrival of Beethoven’s ‘Middle Period’. Timpani had been added for this during the interval.
The first movement, in ¾ waltz time, is in the established sonata-allegro form. The movement opens with the two famous large E-flat major chords played by the whole orchestra, the crashing chords setting the tone of the work.
The second movement is a funeral march in C minor with a trio in C major which has sometimes been used in major public funerals. The movement featured sad , tremulous violins.
The third movement, a lively scherzo, features three hunting horns . The fourth movement is a set of ‘variations on a theme that Beethoven had already used several times before, based on his ‘Creatures of Prometheus. Long, full of structural rigour and unexpected emotional depth this work broke new ground when it was first performed,-a landmark in the history of the symphony.
A rich, inspiring performance.
The Willoughby Symphony Orchestra’s concert MAJESTIC MOZART played the Concourse Chatswood on the 3rd and 4th May. Running times was 2 hours and 15 minutes including one interval.