REVIEW: KZNPO
SYMPHONY CONCERT @ THE PLAYHOUSE OPERA THEATRE --- THURSDAY 6th JUNE
2024
CONDUCTOR :
Brandon Phillips
SOLOIST :
Jan Bartos (Piano)
Programme :
Haydn’s Symphony No 59 (Fire) in A Major
Mozart’s Concerto No
12, K414 in A Major
Beethoven’s 5th
Symphony in C minor
It was an all “classical” programme for the
first concert of the winter season presenting music by the three 18th
century “greats”, Haydn, Mozart and Beethoven. Although all from the same era,
there was plenty of interesting differences in the three works to make
absorbing listening.
With over 100 symphonies composed, Haydn, the
youngest of the three composers, became known as the Father of the Symphony.
Being in permanent employ for most of his life he had ample opportunity to
write and perform regularly, and to experiment with varying creative ideas. The
‘Fire’ Symphony is an early work and illustrates much of the classical traits
of the time such as simpler homophonic textures, repeated themes in alternating
dynamics, and orchestration that focuses on the strings, punctuated here and
there with colourful woodwind interjections and delightful French-Horn effects.
Lovely performance by the orchestra!
Mozart’s Concerto K414 illustrates a further
development of the classical style with more varied, imitative textures in
which the woodwinds play a greater role. The emphasis in this concerto is on
the lyrical melodic patterns tossed between soloist and orchestra all skilfully
connected by passages of animated scales which provide the soloist with
opportunities for virtuoso display. The sunny lyrical character of this
concerto and clarity of performance was beautifully captured by pianist Jan
Bartos.
Beethoven’s 5th symphony, after interval,
saw a distinctive transformation in the orchestra from the chamber-like quality
of the first two works, to a much fuller symphonic sound with the addition of
brass instruments and more woodwinds. It was a fine performance of this
well-loved work with the conductor, Brandon Phillips in full control. The tempi
he chose were perfect throughout, illustrating the amazing thematic development
of the famous opening 4 note motif, and its gradual growth and transformation
towards the grand climax in the finale. He maintained a good balance between
the various instrumental groups, but in the final bars, the strings would have
welcomed a few more players as it required some rather forced bowing for them to
match the grand orchestral tutti climax. It was a fine performance and the
audience demonstrated their enjoyment with a standing ovation.
Barbara
Trofimczyk
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