The Metropolitan Orchestra
Eugene Goosens Hall
ABC Centre
Sydney
Reviewed by Ben Oxley
The Metropolitan Orchestra, conductor Sarah-Grace Williams
From the famous fateful phrase to the rousing finale, this was seminal Beethoven. All our lives are defined by these hammering, questioning tones. "What have you done -, what have you done! - -". It even spawned a nightclub mega hit. Disco, film score, and PDQ Bach's clever commentary of the 1st movement as a sports game.
It also reminds me of the shortest critique of an orchestral concert: XYZ Symphony Orchestra played Beethoven. Beethoven won.
The Metropolitan Orchestra under their Artistic Director, Sarah-Grace Williams gave nobility and a muscular tautness to the 1st movement. Wind solos were well defined, with 1st clarinet and 1st bassoon evident throughout.
The piece is also a showcase for the lower strings, with fine ensemble and balance across the sections. Trumpets were crisp and clear, and once the trombones found their way, it made a strong and compelling final section. Timpani playing was a real feature.
With the elation of the last movement taking us to the interval, we returned to the sobbing strains of wintry Russia. This is where Williams' experience shows out: she asks for long lines, inviting the strings in particular to sustain broad tempi, suggestive of the vast plains, and empty fields blown cold by arctic winds.
The brass were bolstered by some excellent tuba playing, and gave smouldering depth to the ensemble. Piquant winds gave way to the quintessential string sound, so well paced in the 2nd movement. The horn solo sustained the broad triplets, and drew us into the drawing room of the house. Here the piece was approached with reverence, as if returning to a nobler, more prosaic age.
Tchaikovsky shares with Beethoven a hopeful and uplifting conclusion. Apart from some attention to detail, the big finale was well constructed, and had some genuine Slavic brilliance. Brass chorales were handsomely set against the horn chords, with a glistening lustre of strings bringing out the authentic Tchaikovsky sound.
In five years this orchestra has matured in sound and style, and become a serious contender in the symphonic canon. The love of playing is still in evidence, and the rewards are being repaid: accompanying Sumi Jo, David Helfgott, and being the 'band' that will take on the projects that need passionate playing.
Happy birthday to TMO, and may you continue to engage us in childlike wonders of your special tones. What a blessing for children to hear this, and carry the memory of such joyous music-making! Book in for 2014 now.
