Backtracking (2/6/16)

The New York Classical Players present
Beethoven Encounters
Symphony No. 2 | “Archduke Trio”

OK, this was pretty cool. Naomi Kudo, piano; Emily Daggett Smith, violin; and Alice Yoo, cello; presented a wonderful afternoon of Beethoven. The Symphony No. 2 was played in a piano trio version that the composer himself created.

Symphony No. 2 in D Major, Op. 36 – I. Adagio molto – Allegro con brio;
II. Larghetto (A major); III. Scherzo. Allegro – Trio; IV. Allegro molto
Piano Trio in B-flat major, Op. 97, “Archduke” – I. Allegro moderato;
II. Scherzo (Allegro); III. Andante cantabile ma però con moto. Poco piu adagio;
IV. Allegro moderato – Presto 2/4 – 6/8

Don’t you just love Italian? And math? The first movement of the symphony (in transcription) was quite dramatic from the outset, but also tuneful, including broad themes with some lovely filigree thrown in. The opening of the second movement made me think of theme music for a classical (WQXR?) radio program, though I can’t quite identify it. It was a mix of gentleness and power that was rather lengthy but full of enough variety to hold my interest. After minor re-tuning, the third movement had a nice feel of forward energy with sprightly passages that reminded me of Mendelssohn (though it might have been the other way around). The final movement was bright and lively, without being too boisterous. It was graceful throughout, even in the dramatic sections, only slightly marred by a cell phone going off. Really, people?

While the symphony was from around 1802 (early period), the “Archduke” (and I don’t know why it has that name) was from around 1810-ish (the beginning of the late period). In fact, as we learned from the stage, Beethoven played the premiere (or at least performed) this piece, one of the last that he did because of his increasing deafness.

The first movement had a mix of emotions—serious and beautiful. It was fuller in style that the earlier composition, with an interesting pizzicato section that had a filigree accompaniment in the piano. While stretching and expanding forms and harmonies, there were many shifts of mood leading to a dramatic ending. After a cello opening, the second movement had the violin join and then the piano in a playful but sturdy way. While very interesting, compositionally, I found myself wondering whether this was considered daring in its day. After slight re-tuning, the third movement had a chorale-like setting that then turned haunting and melancholy. There were many (almost too many?) themes that led immediately into the final movement. There were rapid dramatic themes with touches of brightness and, possibly, even hope.

Three wonderful players in an afternoon that included a bit of discussion with the artists before the start of the second half of the concert. While somewhat interesting, the discussion seemed slightly forced and scripted. This was not my (and some other audience members’) favorite part of the afternoon. But the music was a big hit. Even with my 94-year-old seat mate with whom I had a very interesting intermission chat. It’s fun being …

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