Beethoven’s Seventh

Completed in 1812, when Beethoven was on a roll, the Seventh is a symphony of which he was especially proud. Premiered with an orchestra of Mahlerian dimensions (some 70 in the string section alone) it blew the audience away, and while the potboiler “Battle Symphony” was undoubtedly the hit of the night, a great performance of the finale today retains the wild “rock concert” energy and visceral sonic intensity of that legendary concert.

Pushing ever more ambitiously on with its fascinating exploration of Beethoven masterworks in “parlour” arrangements, the ensemble presents a version for which you can leave your earplugs at home, and revel instead in the inner details so easily overlooked. The interplay between the four strings and their revolutionary use as drivers of rhythm rather than expression is especially striking. A piece you think you know back-to-front will leap into new focus. A similar arrangement of the Egmont overture will get things off to a bang and have you searching the stage for invisible kettle drums.

Ludwig was still in nappies when Luigi Boccherini, newly promoted to the court of the King of Spain’s brother, wrote three sets of six string quintets. All are remarkably mature, intelligent and very forward-looking works. The C minor Op. 10, No. 3 juxtaposes trademark Spanish rhythmic vivacity with melodic and harmonic writing of almost Schubertian richness.

An exhilarating night with the ensemble at the top of their game.