Molly Turner served as the guest conductor for the Fort Wayne Philharmonic Orchestra's all-Beethoven concert last Saturday.
Turner has degrees from the Juilliard School and Rice University and is the associate conductor of the Minnesota Orchestra.
The concert began with the popular overture from Ludwig van Beethoven’s incidental music for an 1810 production of Johann Wolfgang Goethe’s historical drama, “Egmont.”
The play, which was written in 1787, is the story of the sixteenth century nobleman Lamoral, Count of Egmont. Beethoven’s music was composed between October 1809 and June 1810.
The composer was moved by the heroism and patriotism of Egmont, who stood for the Netherlands in their war against Spain and was ultimately put to death.
The overture to “Egmont” is better-known than the rest of the score, which was actually praised by Goethe himself. It is a very dramatic and stirring work.
There is a somber and dramatic opening, played first by the strings and then the brass and winds. This leads to a more serious, mysterious, and animated main theme, which Turner built up in intensity.
The strings were excellent with strong support by the brass and timpani. Turner provided strong and precise direction, even jumping a bit on the podium. It was a powerful performance of one of Beethoven’s impressive works with fine playing by the horns. There is a pause that leads to a thrilling and patriotic tune that was played with strength and decision.
One of Beethoven’s most famous works is his Fifth Symphony, particularly the recurring four-note musical motif in the first movement. It is said to be Beethoven’s acceptance of fate, particularly in dealing with his deafness. The four-movement work was composed between 1804 and 1808 and premiered in Vienna at a marathon concert on Dec. 22, 1808, with the composer conducting.
Speaking to the audience, Turner stressed the importance of rhythm and joy in Beethoven’s works in spite of his deafness.
That famous four-note motif upon which the first movement is built led to fine performances by the horns and winds. Throughout the movement, there was strong and intense playing. Turner brought out the contrasts in the music.
The development of the main theme was very impressive and exciting.
The second movement is a slower and more lyrical piece that must not drag. Turner kept things moving. There was some beautiful and delightful playing with fine contributions from the brass. The movement has the quality of a theme and variations. Beethoven provides some wonderful development and contrast along the way.
It was quite majestic at times, then there were more mysterious moments. The winds provided some wonderful touches to the music as it built to a curious, animated ending.
The third movement has a really intriguing beginning that builds to a strong theme led by the horns. Beethoven’s use of the cellos and basses adds to this colorful music. The music becomes stranger as it moves to Beethoven’s memorable musical bridge that leads to the finale.
In the fourth movement the brass set the pace for this triumphant, very rhythmic music with some intense string playing. Turner ensured the exciting qualities of this march-like music. She took the optional repeat, which sustained the excitement.
The strings become more lyrical while the brass and timpani provide greater intensity. Beethoven builds to a climax and then the music returns to the softer qualities heard earlier. There is then the very thrilling, closing moments with more rhythm and excitement.
Beethoven’s third piano concerto represents a turning point in his concertos. The first two concertos are more influenced by Mozart, although they have some uniquely Beethoven features.
The third concerto, which was premiered in Vienna on April 5, 1803, with Beethoven as soloist, definitely shows greater maturity and originality. In other words, the three-movement work is more like the works we associate with Beethoven.
The soloist in the Philharmonic’s performance of the concerto was Yefim Bronfman, who studied with his mother and then at a special school in Tashkent, in the old Soviet Union.
He and his family moved to Israel in 1973, when he was 15 years old, and he first appeared with the Israel Philharmonic Orchestra, conducted by Zubin Mehta, later that same year.
He moved to the United States in 1976 and became an American citizen in 1989. He has recorded extensively and has been nominated six times for Grammy Awards.
The concerto begins with a slow and serious orchestral introduction that eventually becomes faster with strong string playing. It is increasingly joyous as it sets the stage for the soloist. Then come the musical fireworks typical of Beethoven’s piano writing.
Bronstein showed real finesse and showmanship along with mastery and appreciation of the varying moods in the music. All of the musical ingredients were present as Bronfman met the considerable challenges for the soloist.
There was an excellent balance between Bronstein and the Philharmonic musicians. The famous cadenza was particularly impressive.
The second movement begins with a slow and introspective solo; Bronstein used the piano’s harmonics for some curious effects. This is very sweet music, both for the piano and the orchestra. Much of the movement is typical of early romanticism and it was played with real feeling.
The third movement followed the second movement with a slight pause. This is a remarkable German dance tune, which is introduced by the piano. The music is accented and rhythmic, shifting between major and minor.
The music built in intensity with Bronfman’s remarkable playing, which showed a great appreciation of the work’s challenges. Although Bronfman is not generally a showy pianist, his overall performance was spectacular and resulted in a great standing ovation.
Bronfman closed the concert with a very showy, unidentified encore that had some dazzling features including cross-hand playing as well as typical arpeggios and glissandos. This was a better indication of his virtuoso abilities.