Arts & Events

New Century Chamber Orchestra Offers Beethoven’s Triple Concerto

Reviewed by James Roy MacBean
Friday January 24, 2020 - 02:32:00 PM

As part of the worldwide celebration of Beethoven’s 250th birthday, New Century Chamber Orchestra presents concerts January 23-5 under the rubric “Beethoven at the Presidio.” Most of the concerts will take place in the newly-renovated Presidio Theatre in San Francisco. However, on January 23 a preview concert was given in Berkeley’s First Congregational Church, and it was this performance I attended. Highlighting the program was Beethoven’s Triple Concerto in C Major, Op. 56, for Violin, Cello, and Piano. Featured soloists were Daniel Hope on violin, Lynn Harrell on cello, and Simone Dinnerstein on piano. A more high-powered group of soloists for this Triple Concerto could hardly be imagined.  

These illustrious artists did not disappoint. Beethoven gave the choicest bits of music in this work to the cello, and Lynn Harrell was sensational, his tone warm, robust and always sensitive. Of the three solo instruments, the cello invariably is the first heard announcing a theme that is subsequently taken up by the violin and piano in turn. Even in the orchestral passages, the cellos are given prominence. Indeed, Beethoven’s Triple Concerto begins with an unaccompanied cello-and-bass melody played softly. Soon Beethoven mounts an orchestral crescendo, and then the music glides from C Major to A flat Major. When the solo instruments enter, the cello initiates a beautiful extended theme, which is then taken up by the violin, and, finally, by the piano. On violin, Daniel Hope is obliged to play at his instrument’s highest register to separate the violin’s timbre from the high register passages in the cello. Throughout this first movement, the piano offers mainly fast passages played fortissimo. Much of the development section of this lengthy first movement is in effect chamber music for piano trio, the orchestra remaining silent.  

The second movement is a slow Largo, which begins with a lovely melody played here in magisterial fashion by Lynn Harrell on cello. This movement is relatively short, especially in comparison with the lengthy first movement, and it serves mainly as a bridge to the finale, which ensues without a pause. Now the Triple Concerto launches into a Rondo alla polacca. This is a dance-like Polonaise, light-hearted and lively. However, shortly before the end, the three solo instruments suddenly burst into a wild three-way chase before the music calms down and closes with the stately Polonaise. Throughout this Triple Concerto, the orchestral passages generally offer punctuation, often exclamation points, as, for example, in this work’s final measures.  

After intermission, the New Century Chamber Orchestra performed Beethoven’s Symphony No. 1 in C Major, Op. 21. Given that New Century Chamber Orchestra prides itself on being one of the foremost conductorless ensembles, I was curious whether they would perform Beethoven’s First Symphony without a conductor. Music director Daniel Hope announced that he would be conducting with the bow of his violin when not actually playing violin. (He had done likewise in the Triple Concerto, so this didn’t really come as a surprise.) In any case, New Century Chamber Orchestra gave a dynamic, robust interpretation of Beethoven’s first symphonic venture. I noted exquisite playing by flautists Christy Kim and Sasha Launer, and a wistful solo in the opening movement by first oboist Adrienne Malley. All told, this was a superb celebration of Beethoven’s 250th birthday by New Century Chamber Orchestra and guest soloists.