Mar 18

Mar 18 WASO's Majestic Rendition of Beethoven's Ninth Symphony

Ludwig van Beethoven was almost completely deaf when he composed his famous 9th Symphony, sometimes nicknamed the ‘Ode to Joy’ due to the resounding choral theme employed in the fourth movement (that is now one of the most famous musical motifs of all time). You’ve probably heard it played by washing machines, children’s toys, doorbells—the legacy of this Symphony has carried well over the nearly 200 years since it was composed, even to those who consider themselves clueless when it comes to classical music. I was lucky enough to see the West Australian Symphony Orchestra’s performance of this great work, in addition to Beethoven’s 'Zur Namensfeier Overture' and 'Choral Fantasy', and found myself transported for two hours to a world of whimsical genius.

The night began with a performance of the 'Overture in C', 'Zur Namensfeier'. A beautiful mix of the classical crispness and romantic feeling, this overture was very cleanly played and it was clear from early on that Asher Fisch had excellent rapport with the orchestra. The piece is in the form of a French overture, beginning in an almost stately manner before picking up energy and resembling something of a dance. The balance between instrumental sections was superb, and the overture proved to be a delicious entrée for the ears. Beethoven’s 'Choral Fantasy' for piano solo, orchestra and chorus is considered something of a precursor to his ninth symphony, with evidence of major themes spattered over the work. It resembles a piano concerto in parts, with Asher Fisch himself taking to the keys for a beautiful working of intricately woven and often virtuosic, sweeping phrases. The orchestra were once more outstanding, with excellent balance and delicacy in their accompaniment of the piano and in each section as soloists in their own right. The climax of the piece builds with the introduction of the vocal soloists—and WASO’s selection did not disappoint. Sopranos Rachelle Durkin and Naomi Johns, mezzo Fiona Campbell, tenors Henry Choo and Perry Joyce and bass David Parkin were all exemplary, with voices that complemented one another near perfectly. They were joined by the WASO chorus, whom I could not have been more impressed with.

After the intermission came the highlight of the night – the performance of the epic ninth symphony itself. After hearing both Namensfeier and Choral Fantasy before the interval, it was amazing to see the journey that Beethoven had taken to write this symphony, a labour of love and much pain at times. Themes that were evident in the other two pieces, particularly the Fantasy, had been refined and polished so that that the work, from the hushed imitative opening lines of the first movement down to the choral extravaganza ‘Ode to Joy’ in the last movement, was full of soul and story. The Scherzo (movement 2) was a personal favourite of mine, with WASO executing the playfulness the movement suggested perfectly.

The finale, the movement much of the audience was waiting for, was as majestic as expected and so exhilarating to see live. Durkin, Campbell, Choo and Parkin were once again fantastic as soloists. The sumptuous interwoven solo parts imitated by the fantastic WASO Chorus, who displayed so much control, was magical, and the tutti Ode to Joy was powerful and moving. It was certainly a sight and sound not to be missed. The audience was rapturous.

It is said that Beethoven’s deafness gave him an extraordinary ability to hear the music composed within his head, providing a distinct sensitivity and rawness to his compositions from his time without hearing. In light of the passing of the great physicist Stephen Hawking, a great number of conversations have bloomed pertaining the power of great minds to perform because of their disabilities rather than in spite of them. Beethoven is an excellent example of this, and his legacy will live on through his music for generations to come. Orchestras such as WASO have a vital role in ensuring this, and if Ode to Joy: Asher Fisch Conducts Beethoven 9 is anything to go by, Beethoven’s music is in safe hands.