Beethoven – Piano Concerto No. 5 in E-flat major (Emperor) & Symphony No. 9 in D minor (Choral)

This concert was a treat for the Beethoven lover with not one, but two of his most monumental works.

Pianist, Danny Driver gave a rich, romantic, and highly expressive reading of the Emperor.  At times, during the first movement, the handovers between soloist and orchestra were not as tight as they might have been.  The consequent interruptions in the musical flow resulted in the piece developing a slightly gestural feel and failing to fully drive through Beethoven’s musical argument.

This feel of fractured ensemble was augmented by the selection of a bass-heavy configuration of the Hall’s adaptable acoustic.  This meant the timpani was over-dominant, and the horns overly foregrounded.  These issues persisted throughout the programme.

Conductor, Oliver Gooch achieved a more integrated feel during the Adagio.  After an exquisite pianissimo opening from the orchestra, Diver delivered delicate lyrical cantabile playing and there was a wonderfully flexible interplay between band and soloist.  The final Rondo picked up its skirts and danced through to a rousing conclusion.

After the interval, the 9^th opened with a mood of suspenseful anticipation, and Gooch’s reading built on this to achieve a developing sense of drama through the first movement.  The outer sections of the Scherzo tended toward heavy-handedness.  However, the more lyrical middle section was treated with eloquent fluidity and delicacy.  The lengthy Adagio of this symphony can ramble.  Not here.  This was a shapely reading which made sense of its form and structure.

And so we came to the iconic Finale.  Incisive and expressive cellos and double basses declaimed the opening recitative and the orchestra played up a storm leading up to bass, James Platt’s impressive entrance.  A powerful quartet of soloists created impact, soaring over the dense orchestral texture.  The choir was, however, somewhat underpowered, managing to register with a full-bodied tone when singing en masse, but often getting lost during sectional solos.

Nevertheless, this was a pacy and energetic performance, full of colour and detail in the orchestra which maintained momentum and built to a thrilling end.

Oliver Gooch – Conductor * Danny Driver – Piano * Anita Watson – Soprano * Rebecca Afonwy-Jones – Mezzo-Soprano * Samuel Sakker – Tenor * James Platt – Bass * Birmingham Choral Union * City of Birmingham Choir * Royal Philharmonic Orchestra