For a brief historical moment, late Haydn, operatic Mozart and all Schubert combined the utmost sophistication and complexity of musical technique fused with folk dance and street song.
This moment was demonstrated to perfection by the Brighton Philharmonic Orchestra on Sunday afternoon.
The programme would have been popular in 1820: perhaps one difference was conductor Thomas Carroll, who believed in a more vigorous Haydn than modern English audiences are accustomed to hearing. To that end, he attacked Symphony No 83, La Poule, with terrific vim, sharply defined contrasts and some celebrated clucking.
He was joined on the platform by friend and colleague, pianist Anthony Hewitt for Mozart’s Piano Concerto No 27 In B Flat Major K595. Hewitt possessed an easy grace and unassuming air: he played Mozart simply, beautifully and with unforced emotion. It was lyrical, piano song music of ultimate expression and he bestowed a dazzling technique upon it with rare lightness of touch. Mozart may sound easy but there is nowhere to hide.
The finale was Schubert’s Symphony No 5, a work of rich melodic sweetness interwoven with bittersweet, melancholic tension.
The orchestra rose to rare heights with the fresh dynamism of Thomas Carroll, the guest leadership of John Mills and the inspiration of Anthony Hewitt. Bravo.
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