SEEN AND HEARD INTERNATIONAL

Stravinsky and Beethoven: Rhian Evans (soprano), Rosie Aldridge (mezzo soprano), Edward Hughes (tenor), Edward Grint (baritone), Royal College of Music Symphony Orchestra and Chorus (chorus director: Nigel Short), Martin André. Amaryllis Fleming Concert Hall, Royal College of Music, London, 14.10.2010 (BBr)

Stravinsky: Symphony in Three Movements (1942/1945)

Beethoven: Symphony No.9 in D minor, Choral, op.125 (1824)

From the very first beat, it was obvious that Martin André’s account of Stravinsky’s Symphony in Three Movements was going to be a big affair. Power and momentum were the orders of the day and conductor and orchestra threw themselves into the first movement with a vengeance, giving a powerhouse performance, showing a boldness in interpretation which I have never heard before in this music. The slow movement was full of marvellously bluff humour and the finale, usually a bit of a let–down, it must be said, returned to the strength of the opening and brought about a really thrilling conclusion to the best anti–symphonic Symphony I know.

André’s view of Beethoven final Symphony was unlike any I have ever heard! Choosing fast tempi he seemed to rush through the piece but yet still managed to take a good 58 minutes over it. I mention the timing because there were many occasions when I felt the music to be rushed. There was a time, and not so long ago, that the first movement was taken too slowly, perhaps because the opening tremolando reminded people of Bruckner’s leisurely allegros and thus, it was thought, the music must need space really to speak. Toscanini and, later, the original instrument brigade taught us that a fast tempo was what was really required and it is usual, these days, to have a good fast speed for the movement. André went one step further and delivered an almost break–neck tempo, which gave a headlong, helter–skelter, feel to the music. Thrilling it most certainly was, but I don’t believe that it was quite what Beethoven intended. Following this, the well chosen tempo for the scherzo, at the start, seemed to be too slow! The mind quickly adjusted to the tempo and after a few bars it felt right – which, of course, it was – and this movement positively scintillated. For me, the austere, limpid, beauty of the slow movement was lost due to a tempo that was ever so slightly too fast. I almost wrote too swift, but it wasn’t that, it was simply that it went too quickly for the grace and attractiveness of the music to register. Because of his tendency towards fast tempi, André was able to give the finale a breezy reading, overcoming the banality of the big tune. The solo quartet worked very well together – no stars here, just a real consort – and the massed voices of the chorus were splendid in their fullness. This was not Beethoven as he should be given, but, that said, it was a truly invigorating experience.

Bob Briggs