BY JOSEPH ASQUITH, LEAD WRITER (EDUCATION)
Beethoven and Haydn
Australian Haydn Ensemble
Harold Lobb Hall, 11 October
The Australian Haydn Ensemble performed an illustrious program in Beethoven and Haydn in Newcastle’s Harold Lobb Hall. Featuring violinists Skye McIntosh and Matthew Greco, violists Nicole Forsyth and James Eccles, cellists Dan Curro and Anton Baba, and flautist Melissa Farrow, the audience was enchanted with a performance of works by Joseph Haydn (1732-1809), Ferdinand Ries (1784-1838), Johann Georg Albrechtsberger (1736-1809), and Ludwig Van Beethoven (1770 – 1827).
First on the program was Haydn’s Symphony No. 44 in E minor (the Trauer), arranged by Charles Hague in 1810. The work gushed into life with Allegro con brio, igniting a grandiose forte dynamic, contrasted thereafter by lamenting descending melodic slurs and a strong semiquaver pulse in the cello accompaniment.
The second movement, Menuetto e Trio: Allegretto, was polyrhythmic in nature, with an established melody cycling through the ensemble in a neat, harmonious canon. Adagio was an elegant, inviting movement, played with lively dotted rhythms, a courtly momentum, and an active dialogue between ensemble members. The final movement, Presto, recapitulated the lively tempo and dramatic dynamics of Allegro con brio. This final movement was executed with each ensemble member maintaining their own independent voices, whilst locked into one another in musical conversation in an almost fugue-like format, anticipating the final E-minor chord which ended the performance.
Next on the program was Ries’ Flute Quartet in D minor for flute, violin, viola and cello WoO 35 No. 1. The work started with Allegro, commencing with lamenting harmonic progressions in the string sections, which quickly enlivened with a flute melody leading the ensemble into a purposeful and engaging drive. The flute lyricism was played colourfully and melancholically, interwoven with brightness and virtuosity. Adagio was a rather more soulful and paced movement, with a romantic optimism achieved through well-shaped melodies and a rather groovy pizzicato arpeggio passage on cello.
Scherzo: Vivace – with its abundance of semiquaver runs, rhythmic unison and jovial lyricism – was performed with grace, poise and a pleasing sense of ensemble. Finale ended the piece, with an air of urgency exuded by a fast tempo, singing flute melody and a tight sense of ensemble. There was even a portamento ‘crowing’ in the flute part, adding quirk to the performance.
After the concert interval, the third performance item was String Sextet in E flat major Op. 13 No. 1 by Alcrechtsberger. The first movement, Adagio ma non troppo, was played with a slow tempo and reverie aesthetic. This first movement was played with a cathartic sensitivity to the superbly shaped melodic lines. The second movement, Fuga, was played with all independent voices for which the fugue style is idiomatic. All ensemble members, despite playing independent melodic lines, were all tightly locked into musical conversation, permitting an exquisitely harmonious wash of sound.
The final performance item was Symphony No. 1 in C major by Beethoven, arranged by Girolamo Masi (1800). As is typical of Beethoven’s compositional style, he established a melodic motif which is recycled and developed through the work’s entirety.
The first movement, Adagio molto – Allegro con brio, started with an anticipation of the C-major tonality, with all ensemble members playing in rhythmic unison to create block harmonies. The second movement, Andante Cantabile con moto, made use of bright tone colours, counterpoint melody, lyrical melodies and an unbroken dialogue of call and response between ensemble members. Menuetto: Allegro molto e vivace, the third movement, harks back to the Baroque dance ‘Minuet’. This third movement was joyfully, energetically, and infectiously performed with more call and response, jovial melodies, and a steadfast connection between ensemble members.
Adagio – Allegro molto vivace, started with a bold minor chord with subsequent light and shade of dynamic contrast and changes in texture. With rapid semiquaver passages, thrilling cadences, ever-tight rhythmic unison and exchange of musical gestures, this final movement was played with captivation, virtuosity, and refinement. In the chamber music format, the impact and satisfaction of this performance of Beethoven’s symphonic work equalled that of a full symphony orchestra.
A notable aspect of this concert was that a connection between teacher and student was showcased in the program. Haydn and Alrechtsberger were both composition teachers of Beethoven’s. In turn, Beethoven was a teacher of Ries. Once could clearly perceive the transition over these three generations from an early, symmetrical classical style leading up to a much more expressive and romantic flair. From a teacher’s perspective, this was particularly fascinating to witness. It demonstrates, to some extent, how musical aesthetics are circumstantial of context.
With a mastery of stylistic interpretation, a consistent musical dialogue between ensemble members and an unfailing warmth towards audience, Beethoven and Haydn was delightful, thrilling, and mesmerising to witness. The Australian Haydn Ensemble has, yet again, shown that it is one of Australia’s finest and most sophisticated chamber music ensembles.
Image supplied.
