Page 72 - Coverage Book_Aurora Orchestra Autumn 2020

second movements to be representations of Beethoven’s own name was excessively speculative. Service
wandering off stage muttering “Beethoven, Beethoven, Beethoven, Beethoven!” was a stretch of
credibility.

Nicholas Collon and Aurora Orchestra
© BBC | Mark Allan

Happily the performance proper, from memory, was entirely the opposite of its preface: organic,
irresistible and thrilling. The first movement motored along with unwavering rhythmic intensity, and the
natural trumpets and manual timpani bit into the big chords with relish. The Allegretto, at a steady pace,
emphasised the lyrical over the brutal.

The pace quickened dramatically for the Scherzo and Finale, both taken at exuberantly breathless tempi.
The crisp chattering of the woodwinds in the third, led with superb character by principal flute, and
answered back with gusto by strings, never wavered in accuracy. The Trio was similarly brisk, but
heroically brash in its martial outbursts and with some entertaining ornamental additions from the
woodwinds. The fourth movement whirled ever onwards, ensemble meticulous thanks to the heightened
eye contact afforded by the lack of music stands and with a careful sprinkling of effective individual
touches from Collon. The last pages roared to a tumultuous close; there can’t be many performances
where the lack of audience response is so unsettling.

This performance was reviewed from the video stream.