The Fort Wayne Philharmonic Orchestra, conducted by Andrew Constantine, presented its final Masterworks Series concert at Purdue Fort Wayne on Saturday, May 16, with an excellent all-Beethoven program.
Pianist Jon Kimura Parker was featured in Beethoven’s Piano Concerto No. 5 in E-flat Major, Opus 73, in the first half of the program. The three-movement concerto was written in 1809 and premiered in Leipzig, Germany, on Nov. 28, 1811, with Friedrich Schneider as the soloist.
The concerto begins with a loud orchestral chord, followed immediately by showy piano playing. The strings introduce the main theme. There was a very strong and exciting musical dialogue between the piano and orchestra. Parker played with precision and great feeling. He brought out the contrasting melodies. The musicians effectively presented the musical drama, from very soft, sensitive moments to louder, more dynamic playing. Parker’s manner was generally straightforward and effective; he played the challenging cadenza with concentration and dexterity.
The second movement is slow and sublime. The piano reflected the profound mood with Parker showing real appreciation of this lovely music. The winds offered very nice touches to the overall effect. Beethoven includes a mysterious transition for piano and orchestra that leads to the third movement; this was quite impressive.
In the third movement, which is a rondo, the piano establishes the tempo change. The effect here was joyous and triumphant. The challenges for the soloist are greater and the overall effect was joyous and triumphant. Parker had some impressive, dazzling, and spectacular playing. There are modulations along that way that create more contrasts and drama. Parker built the intensity and interest with great skill. The performance took on dancelike quality. It all built to the showy coda, which summed up the grandeur of a magnificent performance.
The second half of the concert consisted of Beethoven’s final symphony, his ninth, which was written between 1822 and 1824. The massive work, which lasts over an hour, was premiered in Vienna, Austria, on May 7, 1824. Although Beethoven himself was present at the performance, the orchestra essentially ignored him due to his deafness and followed conductor Michael Umlauf, who stood next to the composer.
The four-movement was unique because it was unusually long for that time, it required a very large orchestra, and it concluded with a setting of Friedrich Schiller’s “Ode to Joy.”
The Fort Wayne performance of Beethoven’s Symphony No. 9 in D minor, Opus 125, featured soprano Martha Guth, mezzo-soprano Anna Kelly, tenor Charles Reid, and bass-baritone Richard Ollarsaba. The Fort Wayne Philharmonic Chorus was joined by the DePaul University Concert Choir from Chicago.
The symphony begins with winds and strings in a very intense and mysterious mood that leads to a strong opening statement. It has been described as “a great struggle.” The music becomes more agitated and animated. There were very fine contributions from everyone. The performance built up the intensity with increasing animation and agitation. Constantine bought out all of the contrasts and excitement.
The second movement is a scherzo and it was delightful and jubilant with animated strings and spirited playing by the other musicians. It was boisterous and accented, with playfulness, revelry, and celebration. The middle section is broader, providing a contrast to the main theme.
This was played delicately and precisely. The return to the opening theme was even more impressive.
The third movement is slow and introspective. There was sweet and pretty string playing with color from the winds. The brass added nobility and dignity.
The fourth movement begins with a loud, dissonant introduction that leads to the recollection of themes heard in the previous movements. Each of the themes are then “rejected” as “unacceptable” by the cellos.
This opened the door to the first statement of the famous “joy” theme, beginning with the cellos and then picked up by the others. It was really joyous and triumphant. Then, the bass sang (in German), “Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones!”
Ollarsaba sang with great diction and dignity; he was joined by the impressive singing from the men and then the full chorus.
The declaration “every man becomes a brother” is an important part of the text. In addition, Beethoven celebrates the concept of “joy, thou beauteous godly lightning” and there are a number of variations on the idea. The vocal quartet and the chorus were all excellent, with strong, clear, and beautiful singing. The singing was not rushed and it was magnificent.
One of my favorite sections features the tenor and chorus, joined by extra percussion, in a German dance.
This was quite a delight with Reid leading the way with his warm, rich voice. This is followed by a faster orchestral interlude that leads to the triumphant music. There is also a mysterious and spiritual section, in which the text celebrates the Creator and the wonders of creation.
Beethoven pushes the singers to the upper limits of their ranges; this performance was definitely very effective. The chorus alone sings in the closing moments, followed by a very impressive coda that again features the extra percussion.
The performance was a triumph, with the performers receiving a thunderous and sustained standing ovation. Fortunately, attendance for this concert was above normal, a fitting close to the season.