Impressive way to finish TSO season

Marko Letonja, conductor Emma McGrath, violin Tasmanian Symphony Orchestra Federation Concert Hall, Hobart December 9

BEETHOVEN’S Symphony

No.4 in B flat Op 60 is often neglected, which is surprising for such a cheerful piece.

Conductor Marko Letonja created a sense of anticipation in the opening “adagio” that heightened the impact of “allegro vivace”. The flute and clarinet shone in the second movement, while all was marked by precision and unity. The Lark Ascending — Romance

for Violin and Orchestra, by Ralph Vaughan Williams, was exquisitely played by Emma McGrath, her technical brilliance combined with perfect control to convey a bird in flight.

Unobtrusive orchestral accompaniment throughout permitted a particularly breathtaking final cadenza.

The popular piece was inspired by a poem by George Meredith, one of many influences from nature and folklore that made Vaughan Williams an instantly recognisable British composer.

Brahms’ Symphony No.4 in E minor Op 98 brims with imaginative and Romantic expression. It was cleverly designed to fit a classical framework at a time (1885) when Brahms’ contemporaries were discarding classical form.

“Allegro non troppo” themes were clearly stated by violins, and later by cellos and flute echoed by oboe. This first movement occasionally yielded a muddy, indistinct sound as the full orchestra entered. This was remedied in “andante moderato” with clear entries from clarinet, bassoon, oboe, flute and horns.

Letonja’s observation of Brahms’ scoring helped achieve balance, with pizzicato and sweeping melodic phrases contributing to tender expression, with rich harmony from strings in the closing bars.

The brassy atmosphere of “allegro giocoso” was boosted by piccolo and clamorous triangle.

“Allegro energico e passionato” was constructed as a “passacaglia” or “chaconne”, where additional notes are written over a ground bass line, presented in the first eight bars, with 30 variations to follow, each lasting eight bars.

The 12th is a wistful flute solo, while sombre trombones reappear in the 14th. Transformation of instrumentation, tempo and dynamics compelled attention during this monumental music, which made a fitting conclusion to the TSO’s 2017 season.