es of Beethoven
“Two si de
Sl 29 gt
OVER‘ZOVyea:svseparated the composition of
Beethoven’s Piano Con~certo No.l in C Major
and the epic 9th Symphony, and their juxtaposition in Saturday’s
Guildford Philharmonic
Orchestra concert em| phasised his progression
from youthful innovator
to towering genius.
The spiritual growth is evident in the scores, but it was
also stressed in the interpreta| tion by prizewinning soloist
Wolfgang Manz and conductor
Richard Armstrong.
They concentrated on the
| lightness of the concerto.’
The orchestral entry was
bright and crisp, with very
| strict attention to precision of
| rhythm. It needed that spritely
approach because Manz’s
| touch on the Civic Hall grand
| piano was so light.
|
His phrasing was sensitive
and the whole performance
was fluid and delicate.
Manz was certainly capable
of strong dynamics — there
was a powerful urgency in the
bas in the first movement —
less energy swept along at a
relentless pace by Richard
Armstrong,
its
urgency
was
almost uncomfortable.
The sudden mood changes
and silent pauses required tremendous concentration.
but he was no thumper of the
After sitting patiently
keys.
throughout the concert, the
This was particularly evident
Philharmonic Choir rose to the
in the largo, where he showed
occasion for the extraordinary
quiet control — the confidence
setting of Schiller’s Ode to Joy.
to hold the melody back with-.
Love it or hate it, the powerout reducing it to schmaltz.
- ful melody makes an unforgetHis lightness of touch was
table statement at the climax
important in the final movement, where crisp clarity is of the symphony.
Baritone Phillip JolI’s entry
essential to raise the tunes
as the first vocal contribution
above banality.
The only slight disappoint- . was of a stature commensurate
with the powerful ifitensity of
ment lay in the cadenzas,
the orchestral sections.« His
where there was plenty of
voice is terrific.
scope for melodic variations —
John Treleaven’s tenor was
opportunities sadly missed.
also strong and positive, while
The delicacy of the symphosoprano Elizabeth Collier and
ny gave way to imposing draMezzo-soprano
Penelope
ma in the 9th Symphony,
Walker blended well.
where the first movement porThe large choir produced a
trays such powerful movement
fine fat sound, intonation was
and lowering darkness as a
good and the movement was
backcloth to haunting melody.
properly triumphant.
Beethoven’s molto vivace
offers sharp contrast. Its rest-
Jane Garrett.