A most exciting concert by the wonderful Willoughby Symphony under the direction of Chief Conductor and Artistic Director, Dr Nicholas Milton AM –  FREEDOM.

Hotly anticipated was the Beethoven Violin Concerto with special guest artist the young Australian Courtenay Cleary, who catapulted onto the world stage of classical music in 2017 with a spectacular performance for the British Royal Family at Westminster Abbey.

The Beethoven Violin Concerto is now one of the earliest and most frequently performed of violin concerti on such a grand scale. It premiered in Vienna on December 23, 1806. Commissioned by violinist Franz Clement, It is Beethoven’s only concerto for violin, and it is often regarded as his most lyrical work.

The Concerto’s first movement, ‘Allegro ma non troppo,’ is written in classic sonata form, including exposition, development, and recapitulation (with coda). The second movement, ‘Larghetto,’ is a group of variations on two themes. The third movement ‘Rondo: allegro,’ is a hybrid form sometimes known as a rondo sonata, which includes elements of both musical forms. It incorporates a cadenza later interpolated by Austrian-born violinist Fritz Kreisler .

Dr Milton’s conducting was precise energetic and inspired. The relationship between the Orchestra, Milton and Cleary was warm and yet simultaneously extremely intense. Cleary led the orchestra in a discussion , and the Orchestra listened and replied. Cleary wore a sleeveless silver top with a long dark blue skirt. Cleary’s reading of the work was generous and graceful .

The Beethoven began with a rich flowing opening that led to swirls and eddies in the music.

Cleary’s playing of this extremely demanding and virtuoso piece was ravishing at time soaring like an aria , other times wistful ,shimmering and delicate.  Her playing was finely nuanced balancing an imposing fullness of tone with feather like softness.   

The second movement featured pulsating horns and woodwind , while Cleary in her solo was captivating, dazzling and darting.

The third movement featured sombre stately strings and rich lush horns and woodwind while Cleary was soaring and filigree in her solo.  The mood changed somewhat to a sad reflective tone and  Cleary’s playing was elegantly refined. There is a sudden change back to a more upbeat atmosphere, Cleary scampering and teasing , tumbling and cascading in her solo, all leading to the thunderous finale .

There was tumultuous applause and screams of bravo.

After interval came Mendelssohn’s Symphony No.3 in A Minor (his ‘Scottish’ symphony) , premiered in 1842 and dedicated to Queen Victoria. Under Dr Milton’s baton the tempo was lively .

We were  stirringly ‘piped in’ by Harley in full Highland regalia with kilt,  bonnet etc.

The work began dynamically, the Orchestra evoking bird calls mist and craggy rocks. This led to a fiery volcanic swirling section.

The second movement featured jaunty woodwind and energetic, bustling strings.

The third movement was rich and flowing, building in intensity. The Orchestra gave an emphatic impassioned performance and snippets of it were remembrances of the composer’s A Midsummer Night’s Dream Overture.

The fourth movement began dramatically with crashes and sparks flying – there was a great sense of urgency.  Circular underlying   rhythms were passed around the various sections of the orchestra with plaintive woodwind like a tenor aria. The sound of bagpipes was evoked by the double bass and cellos.  The orchestra surged and tumbled , galloping towards the scurrying tumultuous conclusion.

A magnificent concert delightfully performed .

Willoughby Symphony  in FREEDOM was at the Concourse 28 & 20 July,2018.