Beethoven symphony so apposite again

WHILE there has been controversy over whether a Cardiff orchestra should perform Tchaikovksy’s triumphalist 1812 Overture, Henley Symphony Orchestra’s choice of Beethoven’s 9th Symphony The Choral proved an apposite choice for such troubled times.

Beethoven interwove a plea for humanity and brotherhood into his work for orchestra, soloists and choir, so current events created an added urgency to the atmosphere at the Hexagon.

The point was made by orchestra chair Judy Whittaker, who welcomed two Ukrainian guests to the concert and announced a retiring collection in aid of the Disasters Emergency Committee Ukraine Appeal, while the concert began with a moving performance of Ukraine’s national anthem.

The first half of the programme consisted of a performance of Mahler’s Songs of a Wayfarer, sung by baritone Dominic Sedgwick, whose powerfully expressive interpretation brought the range of emotions of the lovelorn composer.

Dominic has a commanding presence but produced a great range of vocal quality reflecting the moods of the four songs of the cycle.

After the interval the orchestra was joined by members of the Reading Bach Choir, Henley Choral Society and the Glass Ensemble as well as four soloists to presente an electrifying performance of Beethoven’s 9th Symphony.

The first performance was in Vienna in 1824 yet the impact of the symphony remains powerful as at its first hearing.

Conductor Ian Brown held complete mastery over the orchestra, which responded with assurance.

Each movement has its challenges but every section of the orchestra had clearly worked hard to overcome the technical difficulties Beethoven presents, with the second violins leading the tricky fugue of the Scherzo, bubbling interpolations by members of the woodwind, and the confidently executed fourth horn solo in the Adagio movement. Dominic Sedgwick led the vocal entry in the famous Finale. The sometimes chaotic-sounding instrumental introduction to the movement is interrupted by words Beethoven wrote: “O Freunde nicht diese Tone” (Oh friends not these sounds), which then leads into the setting of Schiller’s life-affirming Ode To Joy.

Sedgwick was joined by soaring soprano Eline Vandenheede, mezzo Leila Zanette and tenor Glen Cunningham and, of course. the massed choir, which matched the large orchestral forces on the stage.

Ode To Joy has frequently been sung as an anthem of hope. At this difficult time, Beethoven’s music brought both musicians and the audience together in joy.

Elestr Lee