By Sheila Abrams
A substantial crowd filled Dolan Hall at the College of St. Elizabeth in Madison on Sunday, as the Baroque Orchestra of New Jersey concluded its 2014-15 concert season with an all-Beethoven (“mostly”) program. The “mostly” is a quote from BONJ conductor Dr. Robert W. Butts and will be explained later.
Joining the orchestra was pianist Lynn Czae, a world-renowned soloist who is president and executive director of the New York Classical Music Society. Czae, a dazzling technician whose performance reflected a passionate connection to the music, joined the orchestra in performing Beethoven’s Piano Concerto #4 in G major, Op. 58.
The concerto had its first public performance in December 1808, with Beethoven as the soloist. It was the last time the composer performed at the keyboard in public.
Considered avant-garde in its time, the concerto presents a complex interaction between piano and orchestra. In the opening moments, the piano introduces a theme which is then picked up by the orchestra. That the concerto begins with the piano playing alone was in itself revolutionary, focusing attention immediately on the solo instrument.
This then begins a conversation that continues in the second movement, with the piano dominating at times and at others, the orchestra, with only the strings playing. The two speak (or sing) to each other, but never at the same time.
It is not until the third, the final, movement that the trumpets and percussion join the orchestra. That movement, rondo vivace, is energetic. It seems as if the piano and the orchestra, which at moments have seemed virtually combatants, have resolved their differences. It concludes beautifully.
The speed with which Czae moves her fingers seems supernatural. So it was especially amazing that she followed the Beethoven with an encore, unidentified in the program. This is the exception that made the concert “mostly” Beethoven.
Czae;s encore was Rachmaninoff’s lushly gorgeous and romantic 18th Variation on a Theme by Pagannini. The best known of a set of 24 variations, this short piece for piano and orchestra has possibly served as the theme music for more passionate romances than any other piece of music in the Western canon. The audience adored it.
The second half of the concert was devoted to the symphony that first established Beethoven’s identity as a man with deep political interests and, perhaps like many of us, conflicts.
As was common at the time, Beethoven’s existence as a composer depended on his winning the favor of the wealthy and powerful. But there is a great deal of evidence to support the theory that Beethoven himself was deeply moved by the anti-royalist , ideals of the French Revolution of 1789: Liberty. Equality and Fraternity. And so he was inspired to dedicate his third symphony to Napoleon Bonaparte, who many thought would redeem those ideals. The original title page of the manuscript bore the inscription “Buonaparte.”
In 1804, however, Bonaparte declared himself Emperor of France. According to Beethoven’s secretary, Ferdinand Ries, when he informed the composer of this declaration, Beethoven said, "So he is no more than a common mortal! Now, too, he will tread under foot all the rights of Man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!"
It was at this point, according to Ries, that Beethoven removed the dedication. The historical accuracy of this account, like many stories told about Beethoven, is open to question. But it is certain that he did remove the dedication. The symphony has been known as “Eroica,” the heroic symphony.
Magnificent throughout, the symphony is full of conflict. There are thunderous passages evoking the falling of bombs, the sounds of artillery. They often come in the midst of tranquil and beautifully lyrical passages, as if to tell us that we need always to be on guard.
The second movement is a sad and somber funeral march. But it recovers in the joyful third, scherzo, movement. The horns are featured in this spirited movement, which feels as if it was conceived on horseback. Special plaudits to Jane Rondin, Dana Bassett and Bryan Meyer playing the horns, and to timpanist Al Jorgenson.
The final movement, allegro molto, is, you might say, a zinger. In the form of a theme and variations, it is positive, spirited and joyful, not a wrapping- up but a pointing to a new beginning.
This could not be more appropriate, as BONJ approaches its 20th anniversary season. Presenting classical music, especially at this high level, is not easy these days. We are so glad there are those willing to fight to do it.
