October 26, 2011 - 2:34pm
A2SO appeals to its audience with an evening of Beethoven
BY JOE CADAGIN
In the world of orchestral music, nothing sells tickets better than the sacred name of “Beethoven.” Whereas Schoenberg, Boulez or Ligeti on a program can send patrons running to the nearest bright-red “EXIT” sign before intermission, Beethoven’s name puts bodies in seats and keeps them there. The Ann Arbor Symphony Orchestra definitely knows this trade secret, hence its second annual all-Beethoven concert last Saturday.
First on the program was the master’s “Fidelio Overture.” The work is the last of four separate overtures Beethoven wrote for his sole opera “Fidelio” (the other three are titled “Leonore 1-3”) and is the one most often included in performances of opera today.
Maestro Arie Lipsky led the A2SO with incredible dynamic sensitivity for this opening number, really capturing the excitement and heroism of the piece. The work features a number of wind solos, but these were either hit or miss — principal trumpeter William Campbell played with brilliant tone, but the horns sounded like a few middle-school band members who had joined the orchestra. The sound of shaky horns trying to stay on pitch became a leitmotif for the evening.
Next was Beethoven’s Symphony no. 1. The work — which launched nine of the most important works in the orchestral repertoire — was a smart alternative to the over-played third, fifth and sixth symphonies. Lipsky brought out some energetic playing that was nuanced and never exaggerated. By the second movement, which was performed with the intimacy of a chamber music piece, it became clear that the orchestra feels at home playing Beethoven.
If there were any deficiencies in interpretation, they became clear during the last movement. It’s not that the orchestra didn’t play well — it’s hard to mess up this piece. But it’s harder still to bring something truly original to the table. Lipsky stuck too much to the score and his extreme technicality killed some of the spontaneity of the last movement. A few well-placed accents and even some rubati here and there would have spiced things up a bit.
The second half of the program was devoted to Beethoven’s Piano Concerto no. 5, the so-called “Emperor Concerto.” Pianist Anton Nel, the former chair of the University’s piano department, provided some rather skillful playing, if not particularly balanced. Nel tended to emphasize sparkly passages as well as heavier, heroic gestures, with very little in between. Some more fun and casual playing, especially in the sea shanty-like final movement, would have been nice. His transition between the connected second and third movements, however, was dreamy and perfectly executed.
Then the encores ensued: The fifth bagatelle from Beethoven’s opus 33 — with a playful “mistake” written in the score — was fun in its own right. The “bonus” encore of “Für Elise” was totally unnecessary. The audience “oohed” and “aahed” at Nel’s performance, forgetting that the piece is a staple of children’s basic piano literature.
All-in-all, the all-Beethoven concert was enjoyable and engaging. Granted, there weren’t too many “wow” moments, but there wasn’t much to complain about either.
