As part of the Chetham’s 50th Anniversary Concert series and in anticipation of Beethoven’s 250th anniversary year next year, violinist Jiafeng Chen, former student at Chetham’s where he now teaches, cellist Nicholas Jones, head of strings at both Chetham’s and the RNCM, and pianist Jianing Kong, a former student at the RNCM are performing the complete piano trios for strings and piano by Beethoven.
The second of three concerts took place tonight in the Carole Nash Hall with nearly full attendance.
The first performance of the night was from Beethoven’s first compositions, the Piano Trio in C minor Op. 1, No. 3 written in 1795. This complimented the performance of Piano Trio Op. 1, No. 1 which was performed a couple of weeks ago and both pieces reflected the more classical traditions in Beethoven’s composition. The use of minor key for this composition in C Minor, however, gave an insight as to how Beethoven would break with tradition and begin to incorporate his own romantic leaning techniques. Also evident in this particular piece is Beethoven’s consideration of the part writing for violin and cello alongside the piano. There were more moments in which the violin took lead and Chen certainly relished these moments playing with determination and the sometimes dark melodic drama was forcefully presented. Beethoven included some mournful moments on cello, particularly in the second movement. Melodic writing for cello was rare at this time and offers a glimpse of Beethoven the revolutionary. Jones’ cello playing was lyrical and considered but I wondered it if it was sometimes too light and too classical in touch. Kong drove this piece with a near perfect mix of classical lightness and Beethovian force.
The second piece of the evening was written just three years before Beethoven’s death. If his early trios intended to impress the Viennese elite, this later composition reflects a maturity that replaces naivety with wisdom. This is immediately observed in a much better balance between the parts and makes it truly a work of three voices rather than a simple melody-dominated homophony. The three musicians worked together very carefully in this performance, blending beautifully in the nostalgic opening section. The main theme was playfully presented with humour which Chen elevated with the virtuosic first variation which is an exquisite piece of violin writing. The response to this by Jones on Cello was again melodic and delicate but again I feel it blended too much.
This piece, based on a theme from the opera 'The Sisters Of Prague' by Wenzel Muller, is clearly one of three individual characters telling a story, fighting for the hand of a wealthy and beautiful young woman and Chen, Jones and Kong were able to express a clear difference of touch representing the chorus parts and the individual parts respectfully.
After an interval, the final piece – again in compliment to the final piece of the first concert – Piano Trio in Eb major, Op. 70 No. 2, brought a stunning performance of an immensely intimate and delicate composition, written in 1809. This composition moves away from the classical norms in many ways and showcases a greater appreciation of how the piano, cello and violin can work together, exploiting a sonority that is unique to this combination of instruments as individuals and as a whole. The three musicians tonight displayed a masterclass in just that. Kong played his many flourishes with ease and balance, adding a delicateness that brought out the nostalgic melodies. Typical Beethoven accents were perfectly touched by all. The drive to the grand end of this piece was exhilarating and very well received by the audience.
The third concert in this series will take place on Tuesday 12th November at 7pm in the Carole Nash Hall.
Reviewer - Aaron Loughrey
on - 1/10/19
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