Attending the second, rewardingly sold-out weekend of the West Australian Symphony Orchestra’s Beethoven Festival (a marathon romp through all nine symphonies), I can do no better as introduction than to quote my colleague Will Yeoman who reviewed last week’s opening concert. “This year saw Israeli-born conductor Asher Fisch take up the position of Principal Conductor of the WA Symphony Orchestra – and boy has he already made a difference,” wrote Will. “Not that WASO wasn’t already a fine orchestra; it just lacked consistency and individuality, and it’s taken Fisch, a protégé of Daniel Barenboim and somebody whom the orchestra clearly adores to make real and lasting inroads into moulding a more distinctive, committed band.” ‘Nuff said…

To that I would add that Asher Fisch has a way with Beethoven that is both rooted in tradition and distinctively individual. His is full-fat Beethoven – not for him the thin, extruded sounds of the period bands – yet he’s fleet of foot, showing an awareness of the HIP movement and those controversial metronome markings. His Beethoven sound has an almost Brahmsian heft, and his attention to the delicate balance of woodwind and strings would no doubt have pleased Brahms himself. Add to...