![]() The memorable element in the storm scene of the fourth movement was the startling, even frightening intensity of the Laurence Reese’s timpani. Their apotheosis was the later cuckoo imitation.Īnd though the third movement opened with warm, energised strings which pervaded it, keeping the almost transcendent joyousness well grounded the important role of the woodwinds, as well as horns, flowed through it. All produced sounds of the most pure and open quality. Bridget Douglas ‘s bird-like flute was again prominent along with bassoon (Robert Weeks), clarinet (Patrick Barry) and Robert Orr’s oboe, all played much more distinctive roles than their usual job of being modestly integrated in the entire orchestral fabric. The second movement – the scene by the brook – was also at an above-average speed, even though the pleasure depicted here is more passive. While flute and oboe were conspicuous early, all woodwinds had their place in the sun, playing as if they rejoiced in the pleasure they were bringing to surrounding peasants (a situation more conspicuous in the third movement, of course). We have arrived at once ‘ auf dem Lande’ (Beethoven broke tradition at once by using German movement names and it left no doubt that Beethoven was composing what was the first ‘programme’ symphony in any real sense – music that overtly paints a picture or tells a story).īeethoven’s mood is felt throughout the auditorium from the very first phrase, and the orchestra left us in no doubt, with every section sounding full of the delight that Beethoven had created in his score. There’s no preparatory introduction to warm up or to allow the audience to settle down via an Adagio molto, or a Poco sostenuto. I don’t know why I was unexpectedly delighted, and surprised, as the orchestra launched with such spirit and enthusiasm into No 6. ![]() While that’s not true, the notion that it might be was enough.Īnother introductory comment: my earlier review of the first three symphonies mentioned earlier performances under De Waart I listed 1, 3 and 7, forgetting the Choral which was played, with two of the same soloists, last November (it was reviewed here by Rosemary Collier). I needed to consider that there were probably many who couldn’t afford all four and had to make a hard decision – which two or three would be most exciting? And with works in all four programmes that were unmissable, many opted to sacrifice the early ones in the belief that they were, naturally, less great. ![]() When I looked around at the audience at the third of the Beethoven concerts and saw that every last seat was occupied, right to the far sides of the stalls, I felt I needed to retract my post-script remark about Wednesday’s audience, which was indeed not very large. Michael Fowler Centre Friday 30 August, 7:30 pm ![]() New Zealand Symphony Orchestra conducted by Edo de Waartīeethoven Festival: Symphonies Nos 6 in F, Op 68 “Pastoral” and 7 in A, Op 92 ![]()
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