Saturday 28th February 2009
Review of this concert by Philip Worth:
A specially heart-warming programme of music was provided by the DSO on 28th February with euphoria exuded by every piece. Brahms’ Academic Festival Overture hit the spot right at the beginning with its irresistible paean of joy in youth. “Gaudeamus Igitur” the orchestra exults, almost shouts, in the final bars – “let us rejoice, therefore, while we are young.” What else should healthy teens and twenties be doing, for God’s sake? (Some of us of a certain age, of course, would like to think that our rejoicing could continue even now!) While appreciative of the award of an honorary degree by the University of Breslau Brahms was, perhaps, slightly tongue in cheek when he said that he would write “a very boisterous potpourri of student drinking songs à la Suppé.” Whatever those words might suggest the result was vintage Brahms, combining lyrical exuberance with sublime classical elegance. Surely the honour the composer received could not match the honour done to the University of Breslau by this tribute from a musical titan of the nineteenth century?
The exultant note struck by the overture informed the whole of the solo piece – the Piano Concerto No. 4 in G Major Op. 58 by Beethoven. This, one feels, is Beethoven at his most virile and self-confident. When he composed it in 1805-6, he was in his thirties and at the height of his powers, already with an acclaimed record of achievement behind him, but well before his tragic deafness cast its lengthening shadow over the later years of this supreme artist. Beethoven himself gave the first two performances of the concerto, the first at a private concert given in March 1807 at the palace of his patron, Prince Lubkowitz, the second – the public première – in December 1808 in Vienna in the Theater an der Wien.
It was with keen anticipation that we all looked forward to the solo performance by Rachel Fryer, daughter of Rita and John, a scion of a family which has long enriched the musical life of our community. Rita is, of course, an indefatigable performer and teacher of piano, well known and deservedly popular with us all for her fine music while John, as violist, has for many years been a stalwart of the DSO string section. In the event Rachel gave a virtuoso performance, with nicely judged phrasing, with uninhibited power where appropriate, and delicacy of touch where required. A review in the May 1809 edition of Allgemeine Musikalische Zeitung stated that “this concerto is the most admirable, singular, artistic and complex Beethoven concerto ever.” Quite a challenge, which this brilliant young artist rose to with aplomb!
So much has been said and written about Dvorák’s mighty Symphony No. 9 (From The New World) that further comment would seem to be superfluous. Dvorák was a very self-contained complex character, and it would not be tempting dispute to suggest that two powerful elements in his emotional and artistic make-up were together the dynamo for his creative tour de force. But the point should be made that these elements are working in harmony, not in conflict, each nourishing the other. It has been asserted that Dvorak began to feel homesick for his native Bohemia the moment he set foot on American soil. That is as may be, but it is beyond doubt that the influence of his native folk music and dance was in his very marrow and pervades his entire oeuvre. How could it be otherwise? He was no city slicker, but a Czech countryman born and bred. Having said that, this great artist’s soul was ever open and receptive of impressions from his environment, and the musical culture of Negroes and native Indians worked on him most powerfully. The result, as we all know, was a unique masterpiece of the symphonic repertoire, and an iconic sound hymn to the greatness and majesty of the United States.
Altogether an exhilarating programme, performed with heart-warming confidence and dash by the DSO and a credit to the tireless work and commitment of maestro Thomas Loten.
A specially heart-warming programme of music was provided by the DSO on 28th February with euphoria exuded by every piece. Brahms’ Academic Festival Overture hit the spot right at the beginning with its irresistible paean of joy in youth. “Gaudeamus Igitur” the orchestra exults, almost shouts, in the final bars – “let us rejoice, therefore, while we are young.” What else should healthy teens and twenties be doing, for God’s sake? (Some of us of a certain age, of course, would like to think that our rejoicing could continue even now!) While appreciative of the award of an honorary degree by the University of Breslau Brahms was, perhaps, slightly tongue in cheek when he said that he would write “a very boisterous potpourri of student drinking songs à la Suppé.” Whatever those words might suggest the result was vintage Brahms, combining lyrical exuberance with sublime classical elegance. Surely the honour the composer received could not match the honour done to the University of Breslau by this tribute from a musical titan of the nineteenth century?
The exultant note struck by the overture informed the whole of the solo piece – the Piano Concerto No. 4 in G Major Op. 58 by Beethoven. This, one feels, is Beethoven at his most virile and self-confident. When he composed it in 1805-6, he was in his thirties and at the height of his powers, already with an acclaimed record of achievement behind him, but well before his tragic deafness cast its lengthening shadow over the later years of this supreme artist. Beethoven himself gave the first two performances of the concerto, the first at a private concert given in March 1807 at the palace of his patron, Prince Lubkowitz, the second – the public première – in December 1808 in Vienna in the Theater an der Wien.
It was with keen anticipation that we all looked forward to the solo performance by Rachel Fryer, daughter of Rita and John, a scion of a family which has long enriched the musical life of our community. Rita is, of course, an indefatigable performer and teacher of piano, well known and deservedly popular with us all for her fine music while John, as violist, has for many years been a stalwart of the DSO string section. In the event Rachel gave a virtuoso performance, with nicely judged phrasing, with uninhibited power where appropriate, and delicacy of touch where required. A review in the May 1809 edition of Allgemeine Musikalische Zeitung stated that “this concerto is the most admirable, singular, artistic and complex Beethoven concerto ever.” Quite a challenge, which this brilliant young artist rose to with aplomb!
So much has been said and written about Dvorák’s mighty Symphony No. 9 (From The New World) that further comment would seem to be superfluous. Dvorák was a very self-contained complex character, and it would not be tempting dispute to suggest that two powerful elements in his emotional and artistic make-up were together the dynamo for his creative tour de force. But the point should be made that these elements are working in harmony, not in conflict, each nourishing the other. It has been asserted that Dvorak began to feel homesick for his native Bohemia the moment he set foot on American soil. That is as may be, but it is beyond doubt that the influence of his native folk music and dance was in his very marrow and pervades his entire oeuvre. How could it be otherwise? He was no city slicker, but a Czech countryman born and bred. Having said that, this great artist’s soul was ever open and receptive of impressions from his environment, and the musical culture of Negroes and native Indians worked on him most powerfully. The result, as we all know, was a unique masterpiece of the symphonic repertoire, and an iconic sound hymn to the greatness and majesty of the United States.
Altogether an exhilarating programme, performed with heart-warming confidence and dash by the DSO and a credit to the tireless work and commitment of maestro Thomas Loten.