There are quirky turns in Beethoven’s Second Symphony where he juxtaposes playfulness with an element of grandeur.
We also see Beethoven challenging convention turning what would normally be a stately minuet into something far livelier.
This is in keeping with the notion that the English definition of the word scherzo is ‘joke’. Beethoven was playing with form simply because he could.
Nowhere is this more evident than in his fifth symphony with its classically enduring four note opening that has become an iconic classical signature.
Conductor Jaime Martin with the energy of the Melbourne Symphony Orchestra at his fingertips reveals or rather perpetrates and allows us to hear the humour and artistry of the composer. At the same time, we are taken away by the symphonic grandeur.
There are moments when a single instrument holds the stage – the clarinet or oboe at different points begin a moment that builds to a full orchestration.
The orchestra moves from the lyrical to a swelling emotional depth taking the audience with them.
This contrast of light and shade and of rhythmic intensity is compelling as if we are on a roller coaster.
Even with the mass and intensity of the full orchestra we still have a piccolo in the final movement laughing lyrically as if to mock the majesty.
It is a joke but one that is seamlessly woven into the fabric of the composition leaving listeners in awe but simultaneously delighted.
What is also useful in attending the MSO series of Beethoven symphonies is Luke Speedy-Hutton’s pre-concert talk in the foyer adding perspective to the works.
The MSO not only entertain but inform through their playing and engagement with their audience – a great combination.
Performed at Hamer Hall, Arts Centre Melbourne
artscentremelbourne.com.au

• Review by David McLean