Beethoven 8 Review III

The final ACO concert for the year opened with a riveting performance of Prokofiev’s Classical Symphony (No.1). The first movement’s jaunty melody was crisp and tight, the dangerously exposed first violin lines flawlessly pitched and synchronised.

Rhythmic push and pull in the third movement recalled the composer’s ballet scores; the finale burst with verve and excitement.

Brahms’ Concerto for Violin and Cello in A minor is a rarely performed gem. Leader Richard Tognetti and principal cellist Timo-Veikko Valve (above) gave technically impressive and musically satisfying performances.

Valve’s opening cadenza had a striking intensity with generously spaced phrases; his demeanour was pensive but never introverted. Tognetti conducted and played the violin solo – a demanding feat of multi-tasking – yet his focus on detailed interpretation and musical communication with Valve was unmarred.

The Symphony No. 8 was the latest in ACO’s series of fresh Beethoven interpretations using an authentic, modest-sized string section.

The first movement had a sprightly opening tempo; the finale was enthused but controlled. The Allegretto scherzando was full and gutsy but never compromised in flexibility or clarity.

As usual, it was worlds apart from the stodgy style so often heard last century.

As a sad swansong, students form the Australian National Academy of Music, which will close next month because Federal Government funding has been withdrawn, augmented the ACO for two surprise encores.

They played The Waltz of the Flowers from Tchaikovsky’s The Nutcracker and Sibelius’s Scene with Cranes.

Tognetti described the collaboration as a show of solidarity – all very sympathetic, but missing an opportunity for a vehement protest against this senseless loss.

Anna McAlister | The Herald-Sun (Melbourne)