Pastoral Symphony, Beethoven
Sydney Symphony Orchestra
Sydney City Corridor, Might 12
Fears in regards to the flute’s propensity for spreading airborne particles have delayed alternatives for Sydney to develop into higher acquainted with the SSO’s new Principal Flautist, Joshua Batty, appointed in 2019.
That was remedied final week with Batty’s efficiency of Carl Nielsen’s Flute Concerto, a piece that strives for cheer towards darkness and which composer and Nielsen fanatic Robert Simpson described as the perfect flute concerto within the repertoire.
Set over two actions, the solo flute half is usually given the function of imparting neo-classical optimism towards interruptions from devices within the orchestra, notably bass trombone and timpani, the latter having performed such a menacing function in his Fourth Symphony, written throughout World Struggle I.
That menace is extra distant, although not totally absent, within the Flute Concerto (1926) and Batty characterised what Nielsen noticed because the flute’s Arcadian nature with deft musicianship and virtuosity, taking part in the gently pleading second theme of the primary motion with easy readability in its a number of transformations. Within the first motion’s cadenza he performed it with florid lightness and nimble expressiveness towards sinister rumbles on the timpani.
Julian Yu’s Fanfaresso for brass, which opened the live performance, was written throughout the Covid lockdown however eschewed heaviness or despair in favour of chirpy brass writing within the outer sections. The central part slows over a repeated bass, quoting the eight bars of the bass from Bach’s Goldberg Variations. Idiomatic brass figurations return for the ultimate part, with a closing wink at Waltzing Matilda.
Conductor Johannes Fritzsch, lately appointed Principal Conductor of the Queensland Symphony Orchestra and acquainted in Sydney for his work with Opera Australia, led Beethoven’s Egmont Overture, Opus 84 in a efficiency of spirited self-discipline.
In Beethoven’s Symphony No. 6 in F, Opus 68, the Pastoral Symphony, after interval, he resisted drawing again to focus on passages, permitting the music’s ahead flowing momentum to form the contours with care however with out fussiness.
Within the first motion the tempo was fast, in order that the big paragraphs have been joined along with genial power and the second motion, the Scene on the Brook, unfolded in an identical although extra leisurely method. The final motion had the Arcadian pleasure that, by Nielsen’s day, was however a reminiscence.