Ku-ring-gai Philharmonic Orchestra | Mozart Strauss & Beethoven
November 16, 2025, Turramurra Uniting Church, NSW
The Uniting Church at Turramurra is obviously not designed for Orchestral concerts – players and soloists have to use the same entrance. This is more than compensated for however by superb acoustics and the KPO programme made full use of this.
Mozart’s Symphony in D was written in 1782 and is known as the “Haffner” after its sponsors, a rich Salzburg family. Surprisingly for Mozart (the Linz Symphony was written in 2 days) he left the draft unfinished for over a year virtually rewriting it into a four movement symphony. The acoustics are immediately challenged by a fanfare style introduction which unusually is repeated with variations throughout the movement giving rise to new carefully crafted themes. From an unremarkable beginning, the Andante as if from nowhere spawns a sublime tune with the bassoons dotting out the rhythm. I first heard this haunting piece in a “Carry On” spin-off film and spent years trying to identify it – no YouTube then! A typical Minuet and Trio is followed by a spritely, cleverly conceived Rondo Finale with brass prominent. A little gem.
Richard Strauss is best known for his Lieder and Tone poems. It’s surprising that he composed a Concerto, let alone one for the horn, and Cole Porter’s “you’re a symphony by Strauss“ in “You’re the top” is a gaffe. The explanation is that he wrote it at the beginning of his career and with his father, a notable hornist in mind. Not only did his father never play it but Strauss dedicated it to another virtuoso, Óscar Franz who also never played it! Strauss specified that it should be played on a natural horn without valves which was found impracticable if not impossible.
I wonder if our soloist, Ben Jacks, would have managed it, so proficient was he on the valved double horn most used. Ben has had a stellar career having been Principal horn for the Sydney Symphony Orchestra for over 25 years under many of the world’s most famous conductors including Ashkenazy and Barenboim while he has included in his travels playing with the London Symphony Orchestra under Sir Simon Rattle. He has also made his mark as a soloist and chamber musician. His flawless technique was well-suited to a youthful work which though tuneful was rather pedestrian until the final Allegro when the soloist introduced a rapid rollicky theme with clever development ending in a very difficult Arpeggio – beautifully handled. A clearly accomplished and talented soloist.
What can one say about Beethoven’s 7th! It is a work universally revered and enjoyed. As so frequently happens – think Mozart and Schubert, severely adverse personal circumstances seem to have brought out the best in a composer. The cleverness of the transition, via the winds, of the slow introduction into the headlong main theme of the 1st movement, the obstinate intrusion of the Trio before the four note ending of the Scherzo and, above all, the so simple yet so emotive slow movement. The quasi-humourist Sir Thomas Beecham may have described the Finale as “A group of yaks jumping about”, but to me it is a delightful perpetuum mobile and a fitting end to a great concert.
The KPO seems to progress in leaps and bounds. Intricate episodes by the wind and brass, particularly in the “Haffner” were handled with aplomb and the very slow ground bass crescendo on the lower strings, which heralds the ending of the 1st movement of the 7th, was faultless. The amiable conductor Monica Buckland must have conveyed her wishes over numerous rehearsals!
