SEEN AND HEARD INTERNATIONAL

Pupils from Tonbridge School and Meadows School -  Weber, Mozart and Beethoven: Lucas and Arthur Jussen (pianos), London Chamber Orchestra, Christopher Warren–Green, Tim Steiner, Cadogan Hall, London, 19.11.2010 (BBr)

Pupils from Tonbridge School and Meadows School: Beethoven’s 5^th Revisited – The Engagement (2010) (arranged by Tim Steiner)
Weber: Overture, Der Freischütz (1817/1820)
Mozart: Concerto for Two Pianos, K365 (1779)
Beethoven: Symphony No.5 in C minor, op.67 (1807)

Beethoven’s 5^th Revisited – The Engagement, we were told, was based on Beethoven’s 5^th Symphony, insofar as it took the tonic and dominant chord of the perfect cadence as its starting point. Therefore, it was any classical work revisited for this music had absolutely nothing whatsoever to do with Beethoven’s masterpiece. I am all in favour of involving school children in this kind of activity, and teaching them that classical music isn’t the boring pastime of people such as their parents or grandparents. However, I do draw the line at the use of two drum kits. OK, they are part of the musical vernacular that many young people speak these days, their path, via the X Factor, or some such “talent” show, to fame and fortune.  So forget hard work, and believe instead that Simon Cowell is the saviour of music, and the prime mover in the musician's bank balance. NOT. Without the strumming guitars and drum kits there’s the beginnings of a rather interesting piece here, and with more thought in the processes involved and less time spent trying to emulate Dudamel’s youth orchestra’s antics, the children might learn something about how classical music works. As it was, this was a very damp squib, but its heart was in the right place.

The concert proper, if you like, started with a fiery account of Weber’s bold and dramatic overture to his opera Der Freischütz, with some fine horn playing and a marvellous swagger to the big tune which brings it all to an end. Brothers Lucas and Arthur Jussen – 17 and 14 years old, respectively – already have an impressive CV, separately and together, and they have just signed an exclusive contract with Universal/DGG. For once, it’s good to report that here are young musicians who are capable of delivering a finely thought out performance, playing music which is within their technical abilities, and with a high degree of success. Of course, I have no idea exactly how advanced their musical achievement actually is, but on the strength of this performance of Mozart’s K365 they displayed a strong and purposeful character which goes far beyond the charming face so often heard in this piece. Unfortunately, two modern concert grands were too powerful for the slight accompaniment Warren–Green delivered.

Beethoven’s 5^th Symphony started very well indeed, with a storming performance of the first movement, with the exposition repeated, and Warren–Green kept the tempo steady with drama and tension at the forefront of his interpretation. However, the other three movements all suffered from being rushed. The fugal trio of the third movement was so fast that there was little chance of clear articulation from the strings and the finale, again with the exposition repeated, was a soulless race to get to the end, and the brass was allowed to overpower everybody else. Thrilling it certainly was, but it lacked finesse and thought. This barnstorming approach fully suited Brahms’s 6^th Hungarian Dance which was given as an encore.

Bob Briggs