REVIEW: Fountain does the Brahms business

If his recent annual appearances with Mozart concerti in the New Year concerts, has led to the WSO audience growing comfortably accustomed to hearing him in fields of classical grace and poise, they were jolted.

Brahms' second concerto is another world '” another, even, from No 1, which he performed here a good few years ago '” and the stature of his performance will have stunned many.

It is a gigantic piece for the pianist. Just as it applied to Alfred Brendel when I saw him play it back in the 1970s, before he ceased giving this work, its physical demands involved the whole body.

Like the great Austrian, Fountain is well in excess of 6ft tall, and likewise he was lifted off his seat by the explosions of effort Brahms requires.

We have a picture of Brahms at the piano, hands crossed, cigar in mouth, posture casually leaning backwards. My guess would be he's playing one of his Intermezzi. Oh, for a sepia shot of him attacking one of his two great concertos . . .

As WSO conductor John Gibbons described in his programme notes, Brahms belied his gentile image by just loving a run, jump and frolic in the countryside.

Fountain's still-boyish looks at 39 mean he still resembles the ex-Winchester choirboy who became, at 19, the youngest Arthur Rubinstein Piano Masters Competition winner in Tel Aviv.

But coming onto stage and setting himself ready at the Steinway, he showed a distinct calm and pleasure in simply being there and about to play and be challenged. Even when he then had to sit and wait for the oboe to retune the WSO to his A.

The piano tuner had been delayed after the single rehearsal of the programme that morning. He was still completing his work even as the WSO took the stage for the beginning of the concert, which began with a muscular and colourful delivery by Gibbons of Smetana's Bartered Bride overture.

Similarly to Beethoven's Emperor Concerto, in the Brahms, the piano has a series of explosive comments that climax the introduction and release into the world the first main theme. This determines the nature of the interpretation at hand, and foretells the strength of the piano to come.

Fountain, after convincing entirely in this, wove a relaxation and control of a maturity beyond his years, as well as a power and technical command that was hugely impressive.

It was all within his compass and his knowing eye contact with Gibbons would have enhanced the confidence of the pair in embarking on the 45-minute journey of this four-movement journey.

Fountain's scherzo second movement brooded like red-hot coals and then came the WSO's exultation of the trio outburst, a burst of bells, of a magnitude perhaps topped only in the concert hall by the scherzo of Bruckner's Symphony No 8.

Fountain was ready for the chamber-music interplay with David Burrowes' pensive but unsentimentally romantic solo cello in the slow movement.

There was a lovely, lingering preparation by soloist(s) and conductor for the final chords, before the finale, and its toccata feel from Fountain in the opening and closing sections. Along the way he portrayed Brahms' playfulness as well as his serious moments with a natural and easy assurance and affection, after all the rigours of the previous three movements.

It will probably be Mozart from Fountain again next season. But to hear him in one of the other classics further hence will now be a subject for anticipation.

Gibbons after the interval took the orchestra into spring, not on the Downs or by the sea, but to Dvorak's Czech countryside. It was Dvorak's Symphony No 8 '” a pastoral symphony but with only temporary isolation from the composer's crowd-pleasing penchant for ebullient rhythm and loud excitement.

Flautist Graham Mayger, back after a season-long absence, joined the myriad birdsong among the other woodwind, the strings evoked the sweep of the wooded slopes, the horns the forest glades, the trumpets the blaze of the midday sun and the festival.

Loud cheers greeted its conclusion, as they had the Brahms. It was a fitting orchestral multi-portrait for the WSO season's conclusion and Gibbons brought each section to its feet, including this time, separately, all five departments of the strings. Under leader Julian Leaper, they are the keystone to the popularity of this orchestra.

For the WSO's ever increasing devotees, the 'close season' of spring and summer may seem almost unwelcome interlopers.

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