PROM 67:   Beethoven, Tchaikovsky The Philadelphia Orchestra, Christoph Eschenbach (conductor) Royal Albert Hall, 04.09.2006 (AO)

On Sunday, the Philadelphia Orchestra rehearsed a performance of Beethoven’s Ninth Symphony: it promised to be a spectacle, but it wasn’t to be. A fire caused the unprecedented cancellation of the Prom. It was a clear reminder that things can’t be taken for granted. The best laid plans can, literally, go up in smoke.  Perhaps that awareness intensified the atmosphere at tonight’s Prom.  Everyone seemed to appreciate the phenomenon that is the Proms, that miracle of logistics and artistic vision, sponsored by the BBC but shared all over the world.

It was highly symbolic that the programme featured Beethoven’s Fifth Symphony, that most universal of symphonies.  Its four striking chords are known everywhere, even if their origin might not be recognised. As rock fans play air guitar, so Beethoven fans fantasize about conducting the Fifth. Yet this music is so powerful that it affords infinite interpretation. The famous “Philadelphia Sound”, nurtured over several generations, gives a unique perspective. It’s characterised by deliciously lush strings and rubato - Ormandy described it as “pulling taffy”, so dense and so sweet is its character. This richness is ideally suited for Grand Romantic gestures, and Eschenbach, once a virtuoso pianist, understood how to make the most of it.  Not a violent, revolutionary Fifth then, but a contemplative reading that enhanced the more lyrical aspects of this amazing music.

The Andante con moto was specially lustrous, the quieter passages beautifully judged. Gently curving his left hand, Eschenbach tempered string passages so they lingered like long held breaths. The bank of celli, at the heart of the orchestra, gave exquisite depth without excess volume.  Later, the strings seemed to tiptoe in careful formation, building up naturally the triumphant staccato chords that usually draw the attention.  This refined approach paid dividends throughout the symphony, as it enhanced the oboe, bassoon, clarinet and flute solos.  Indeed, what surprised me was how impressive the woodwinds were, with such authority and feeling. Altogether, this was a well thought through interpretation, masterfully carried off by superb playing, once again proving that loudness for its own sake often marks weakness, even though it might at first seem more entertaining.

The Philadelphians returned to more unequivocally Late Romantic territory with Tchaikovsky’s Fifth Symphony.  The strings naturally came into their own, and the orchestra was able to give full body to those swirling, full throated long lines. This was the “chocolatey, buttery” style that concertmaster David Kim described in his interview with the BBC.Brass and woodwind are more integrated into the orchestration, supporting the dominance of the strings.The horn solo, in particular was impressive. The allegro vivace pulled everything together, the strong staccato chords underpinned by horn. The hidden programme for this symphony deals with the triumph of faith over fate, and tonight it probably meant more than usual, since the orchestra and audience so merely nearly missed out on this concert. 

The applause was more sustained than usual, those in the arena stamping their feet with enthusiasm.  I looked at the musicians, many of whom were starry eyed and emotional, staring up at the audience in the stalls, boxes and gallery – what an inspiring sight it must have been for them! There really is something magical about a Prom, when the Royal Albert Hall is packed to capacity, and there’s a palpable sense of community. It’s not just the people present, but the knowledge that there is a whole world of others, listening to their radios, televisions and computers, but nevertheless an important part of the “extended family” that is the Proms.  Unseen, too, but not unfelt were the host of performers and audiences who for over a hundred years have helped make the Proms something more than just another music festival. 

 

Anne Ozorio