Adelaide Symphony Orchestra. Adelaide Town Hall. 21 May 2025
Haydn taught Beethoven, but Beethoven declared Haydn taught him nothing, and Brahms was hesitant to write symphonies because he could not escape comparisons with Beethoven and felt he heard “… such a giant [Beethoven] marching behind him all the time.” So, it makes sense, in a mischievous sort of way, to juxtapose Haydn, Beethoven and Brahms on the same program, and that is exactly what the Adelaide Symphony Orchestra has done in the first concert in its Brahms: The Symphonies series.
Chief Conductor Mark Wigglesworth led the Adelaide Symphony Orchestra in what was a finely balanced performance across three diverse works: Haydn’s Symphony No.1 in D; Beethoven’s Concerto for Piano No.3 in C minor, Op.37; and Brahms’ Symphony No.1 (also) in C minor, Op.68. A feature of Wigglesworth’s conducting was a clearly established dynamic plan for each work, so that the distinction of loud and soft segments within and across movements made for contrasts that made sense and enhanced enjoyment right to the very end. Wigglesworth is a conductor who doesn’t get in the way of the orchestra: he allows the innate musicality of every player and instrumental section to shine through within the broad parameters he sets. One gets the sense that every musician is not on automatic pilot when he is at the podium and that they are discovering freshness in the work every time.
Haydn’s first symphony is a relatively youthful composition and is scored for a small orchestra. It comes in at around 10-11 minutes, but it doesn’t feel as brief as that. The sweet melodies and their development within each of the three movements are not entirely predictable and as a result the passing of time feels a little slower.
The same can be said of the Beethoven piano concerto, in which there are surprises in each of the three movements. Sir Stephen Hough performed the concerto with both precision and passion. Elegantly dressed in a midnight blue Nehru collared suit and shiny black patent leather shoes, Hough looked imposing and in full control at the Steinway concert grand. There is an air of the aristocratic about him, and he is all class. His style is devoid of unnecessary gesticulation and mannerism – there is simply a poised and studied look about him as he produces the most astonishingly articulated sounds from the instrument. At the start he sits sideways looking intently at Wigglesworth’s every move until the piano enters some minutes later – their collaboration is set in motion. The cadenza at the end of the first movement is quite special, performed with absolute clarity and balance. The second movement continues the focus on the piano, and Hough immediately stamps his interpretation on the sumptuous largo. Throughout there are gentle moments of dazzlingly clear dialogue between the piano and the orchestra, especially with the woodwinds, and it all gets spiced up in the final rondo movement when the rhythms become more exacting and seemingly jazz infused. At the end, the audience’s applause is emphatic, replete with stamping of feet and whistling, and Hough and Wigglesworth embrace in appreciation of each other. Hough was presented with the customary sumptuous bouquet of Tynte flowers, and he graciously gifted them to a lucky lady sitting in the front row. Nice touch Sir Stephen!
After the interval, Wigglesworth led the ASO in a robust performance of Brahms’ first symphony. It is around forty-five minutes in duration, and it is a muscular piece. The orchestra started with two doubles basses and four celli for the Haydn, which then expanded to four and six for the Beethoven, and then to six and eight for the Brahms, with the addition of various other instruments. The Brahms requires heft, and the ASO were up for the challenge. It begins with urgency and exclamation, as if Brahms is announcing to the world that he is indeed a symphonist and he has something to say, despite Beethoven looking over his shoulder! Scored in four movements, the composition is overflowing with melodies, and none so more than in the final movement with the iconic and languid horn line that once heard is never forgotten. It’s the stuff of earworms! This soon gives way to responses from the woodwinds, which were exquisite throughout the concert, and then from the violins. Concertmaster Kate Suthers again wowed the audience with some sensitive and beautiful playing, and the double basses worked overtime and gave the whole piece the momentum and drive it demands.
This is the first of four concerts in the series, and it seems we are in for a thrilling musical roller coaster of a ride. Superb programming, superb artists.
Kym Clayton
When: 21 May
Where: Adelaide Town Hall
Bookings: Closed
