By Christine Facciolo
Delaware Symphony Orchestra Photo by Joe del Tufo/Moonloop Photography |
Classical
music devotees savored a Fifth of Beethoven at The Grand Friday, September 15, as the
Delaware Symphony Orchestra kicked off what promises to be one of the most ambitious
seasons in its 111-year history.
But
before the orchestra rolled up its sleeves for the Beethoven, it offered up
some lighter fare, courtesy of Prokofiev and Mozart.
Prokofiev
subtitled his Symphony No. 1 (1917) the “Classical Symphony,” in homage to
Haydn. Prokofiev’s ability to blend his 20th Century voice with the
style of the great classicist is indeed remarkable, making this one of his most popular works.
The
piece is usually performed by a large modern orchestra. But here, the orchestra
was pared down appropriately, giving the music a lighter texture. The string
work throughout was captivating. The Gavotte proceeded with its dislocated tune
and plodding rhythm, while the final movement bubbled along at an exhilarating pace, producing many admiring smiles and enthusiastic applause.
Mozart’s
Concerto for Flute, Harp and Orchestra (K.299/297c) was the companion piece on
the first half, an apt choice, since Haydn influenced Mozart as well as
Prokofiev. Amado partnered DSO principals Kimberly Reighley (flute) and Sara Fuller (harp)
who gave a poised yet exuberant reading of this finely wrought work. The
orchestra carried out its supporting role with as much commitment as if it were
center-stage, befitting the intimate nature of the piece, especially the
flowing Andantino.
After
intermission, Amado and the orchestra got down to business with a performance
of Beethoven’s Fifth, certainly the most well-known – possibly the most beloved
– work ever created.
Familiarity
can breed contempt but not in this case. As Amado pointed out, there is always
something new and interesting to discover in Beethoven’s Fifth. First, were
those introductory notes really the hammer blows of fate knocking at the
composer’s door? Probably not. A theory developed in the 1990s holds that those
famous fortissimo phrases were influenced by Luigi Cherubini’s “Hymn du
Pantheon.” Cherubini was a prominent composer during the French Revolution.
Beethoven was a passionate supporter of the revolutionary ideals of liberty,
equality and fraternity.
Amado
also pointed out the symmetry within the symphony’s first eight notes as well
as the thematic and harmonic relationships between its movements.
If
you listen to the Fifth largely on recordings, it’s easy to forget host
thrilling a live performance ca be. This was a beautifully focused, fully
energized performance of the Fifth with all the necessary elements in place:
sonorous strings, flawless brass playing, full-bodied winds and above, a sense
of drama and grandeur. The insistent C on the timpani had a palpable presence
here, offering am effective set-up for the glorious, fortissimo rising chords
that usher in the finale.
For full season info, see www.delawaresymphony.org.