Johnny Greenwood’s a standout amongst an evening of mixed Beethovian pleasures.

Hamer Hall, Arts Centre Melbourne

October 27, 2014

Tognetti’s Beethoven was the title for ACO’s latest tour, but it could have easily born the subtitle Pieces in the key of C. If it was indeed Beethoven audiences were after, it was Beethoven they got. With the program featuring Coriolan Overture, the Concerto for violin, cello and piano, and his Symphony No 1 in C Major, as well as a modern inclusion with Jonny Greenwood’s 2013 composition Water. The typically lightweight chamber orchestra was significantly augmented with extra orchestral forces, in a full wind section, brass and timpani.

No sooner than Artistic Director Richard Tognetti finished his introduction of the evening’s theme, did the strings launch into the strident opening tutti of the Coriolan Overture. There could not have been a more fitting program opener, as each bow hammered this ‘C’ message home.  ACO’s usual string section played with their signature clarity of articulation. The addition of a wind, brass and timpani however, created ensemble problems. The orchestra never achieved a real cohesion of pulse, which would have transformed an already exhilarating interpretation. 

Beethoven’s Triple Concerto for violin, cello and piano was the next showpiece, for soloists Tognetti (violin) Timo-Veikko Valve (cello) and Yevgeny Sudbin (piano). This Concerto is truly bizarre, as it doesn’t really feel like a concerto at all but more of an amplified trio. Sudbin produced a delicious sound, but the direction of the piano was facing into the ensemble, so his tone was sometimes swallowed. It can’t be denied that Tognetti and Valve are both tremendous players but this interpretation fell short of a confident performance. It most noticeably came unstuck with a few reoccurring intonation issues. There were some very special moments, especially the sweeter cello lines in the short second movement, and the dextrous interplay between the three soloists in the final movement. It was a fine rendition, but didn’t reach the brilliance expected from two such exceptional musicians.

Greenwoods’ Water was a particular highlight. The orchestra was reconfigured to feature two flute players in the centre of the ensemble and the addition of a tanpura player. Opening with layered, pulsing violins, it colours with added lower voices while building to the first climax of the piece. Once more, the upper strings dictate a change in direction, and introduced a new dissonant motif in 3/8. This becomes suddenly anchored by a grinding bass ostinato. The work swells and recedes away once more. Greenwood’s fits the lean, muscular sound of the ACO.

Beethoven had the last word, as his Symphony No 1 in C Major, closed the program. This featured some brilliant string playing, qualified with delicate articulation and finesse. Mention should be made that natural horn and baroque trumpets were used, instead of their modern counterparts. This created a brighter sound which suited the smaller size of the string ensemble. Tognetti’s keen intention sweeps the rest of the orchestra along, and it’s clear the ACO relished Beethoven’s humour in this delightful first symphony. A very brisk final movement concluded what was an enjoyable, but not an especially memorable performance. 

Limelight subscriptions start from $4 per month, with savings of up to 50% when you subscribe for longer.