Beethoven’s fourth symphony, sandwiched between the revolutionary Eroica and the famous fifth, has been overshadowed by both.
But it’s a marvellous work, as this spirited and crisply played performance showed. Right from the allegro’s first notes Beethoven subverts the listener’s expectations; its nebulous twilight harmonies teasing us about where the music is going.
Then comes an orchestral whip-crack and we’re off into a headlong chase. Paul Watkins, a fine cellist and impressive conductor, never let the tension drop but was always ready to give the rare moments of repose their full value – the wonderful melody for strings in the slow movement, for example.
Beethoven’s debt to Haydn was clear after hearing the older master’s Symphony 95, with its gruff humour and musical wit. However, its C minor tonality is a world away from Beethoven’s heaven-storming use of that key.
This is an essentially genial work, illuminated by delightful interjections for the solo cello, well taken by Eduardo Vassallo.
Jennifer Koh was the soloist in Mozart’s fifth violin concerto, her bright tone and tight fast vibrato well suited to its aggressive, high energy “Turkish” finale. Her playing in the adagio lacked the freewheeling sense of fantasy which the finest performances have.
Rating: 4/5
