Conductor takes
success
THE glories of the classical era as it burst into
the even greater glories of
the romantic period were
splendidly expres§ed by just
two
symphoni¢c
masterpieces played by the
Guildford
Philharmonic
Orchestra
at the Civic
Hall last night (Sunday).
edgeable and experienced musician
in
his
own
right. he
conducted
this
taxing
programme with
no
unnecessary
The most serious and tragic
of ' Mozart's three 'last great
symphonies — No. 40 in G
Minor (K. 550) -— might well
be said to point directly
to the
immortal peaks of Beethoven’s
stress in the Scherzo, and ‘pfes
last tremendous symphony —
No. 9 (the Choral) — 36 years
i
later.
Despite the sudden - absence
of Vernon Handley, who had
collapsed with ill-health earlier
in
e day, the G.P.O. were,
perhaps as a determined tri-
bute, in magnificent form. Sel-
dom have 1 heard them so
integrated and inspired as in
the last two movements of the
Beethoven.
The
religious
was
Adagio
the
ecstacy of
sheer beautv as expressed by
the united strings, with that
intense introduction by second
violins and violas.
And
the grandeurs of the
enormous finale, with all sections groping through infinite
variations
towards
the
cul. minating outburst of the Ode
to Joy produced ineffable mastery
of
contrapuntal
control
and refined phrasing.
The Philharmonic Choir also
rose nobly and with infectious
enthusiasm to the challenging
*inBeethoven's
of
strain
strumental” ‘writing for voices
in their highest register. There
was' no shrieking, the tone was
almost without exception warm
line
the
well-rounded,
and
steady
and
the
stamina
unfal-
'
4
tering.
The triumph of the evening
belonged to John Forster. who
stepped in at only a few hours’
notice to take the baton of Mr,
Handley. Himself a member of
the orchestra, and a knowl-
fuss but with clear direction
and most attractive attention to
delicacy
of ' nuance
with
his
expressive left hand.
He never allowed the remor-
seless uphill drive of the Beet~
hoven to carry the orchestra
away until jits
proper climax
the
terrific
obtainhed exquisite
the short pastoral
prestissimp,
contrast aa
relief from
cise patterns in the fugal pas-.
sages. The temipestuous 36-bar
-
timpani of the? first moVem%‘!‘
was as exiting as-ever.
The four soloists maintainffli
the high orchestral and chosal
standards. Although John To#r-
linson
struck
a . rather.
his
tone 'in
powerful,
harfgl!
initigl
declamation of “Freunde. he se#tled down to a richer delive
in company with the others.
The soprano, Yara Labal,
was
another replacement, as Vivien
Townley, was indisposed, and
she
appeared
wunderstanda
nervous in some of her eatly
entries. She has a sweet-to
voice, however, and her top
notes came over well,
Johh
Kingsley < Smith
managed
&
tenor
one
purity,
amply
and
requirements.
To
Mozart
solo
fulfilled
the
is
Iyrical
-with
Helen
3
the
contralfo
average
listengr
not
et
remembered
the
eloquent sorrow. but
for
fata=
listic drama "and occasiona
vigorous
urgency
of
his .(
Minor Symphony is perhaps his
greatest
essay | in
the mood.
Even the Minuet has its bitter
dissonances, though beautifully
relieved by the serenity of the
Trio.
Once again the G.P.O. strings
presented a brilliant example ef
team-work, = expertly
b
John Ludlow, the tone of the:
cellos in particular possessing:
a
deeplv
glowing
quality. . L
noticed that the work was pers:
formed in
its original
form«
without clarinets,
which « may
have removed a certain stabis.
lity from
the woodwind.
¢
}i ek 2 %