A capacity crowd enthusiastically received the quaintly named Bavarian Philharmonic Orchestra KlangVerwaltung. Conductor Enoch zu Guttenberg's laborious explanation of ironic 'administrated sound' is that his orchestra is anything but a staid civil-service-style outfit.
An easy listening programme began with Schubert's delightful Rosamunde Overture, the introduction being slow to dead stop, with amazingly clean chord entries in spite of every attack coming well after the laborious downbeats. This was an evening where the leader earned his stripes as the troops anxiously followed.
A curious quasi semi-baroque approach manifested itself only too soon as the maestro imposed idiosyncratic surging effects, ungainly chopping the music into indigestible lumps and pear-shaped phrasing. Notes constantly disappeared at the
ends of short repeated phrases, but were thankfully brought to light by woodwind as Schubert intended. However, his charming melodies won the day in Rosamunde's well-loved Entr'acte , the balance improving throughout.
Pianist Freddy Kempf was the perfect choice for celebrating Mozart's 250th anniversary, performing the C Major Concerto K467 with his usual meticulous elegance.
Unfortunately a lumpen orchestral approach detracted somewhat as one strained to hear the piano through obscuring accompaniment. A soloist is at the mercy of conductor and orchestra: no-one more so than Kempf, but thankfully the exquisite singing solo line in the slow movement shone through as the players responded in kind and his untrammelled cadenzas were a joy to the ear.
Beethoven's old warhorse Symphony No 5 rang the rafters with a sturdy start and bright horn wakeup calls. More unnatural shaping was evident in the slow movement.