Above : Artistic Director of Australian Chamber Orchestra, Richard Tognetti

This December marks the 250th anniversary of Beethoven’s birth in Bonn.  Arts groups worldwide are celebrating this anniversary in a variety of ways. Richard Tognetti and ACO begin their 2020 season
with an exploration of Beethoven’s first three symphonies. This salute to the composer’s individuality and genius with the works played back to back is both thrilling and informative.

This event allows instrumentalists and audience to clearly witness the emerging voice of Beethoven the symphonist. Via the chronological presentation of each work, we hear this voice change from the tone of traditions established by Mozart and Haydn up to Beethoven’s unique Romantic vision. We finish this concert journey with the drama fuelled by extramusical inspiration, being references to Napoleon during creation of Symphony No 3 (“Eroica”).

True to the performance period, ACO uses historic wind instruments and string players on gut strings on this tour (a couple of instances of broken strings occurred during this matinee concert’s fiery ‘Eroica’). The resulting blend is smooth and superbly even.

Tognetti also discusses in programme notes the adherence to proportions of tempo choices and the notice given to Beethoven’s metronome markings in the manuscript versions.

The fruits of the above contemplation give fresh vitality to the works with regards to speed and the capturing of character. Some brisk tempo choices see first movements and finales rocket along. This choice of challengingly quick performance pace is supported by group control, propelled by precision of unison attack and charms us with crisp, clear articulation.

This is charismatic playing indeed, directed with expressive historically-informed bow wielding action by Tognetti from the concertmaster’s position. The exciting yet elegant and extremely eloquent manner in which ACO interprets these works harks back to its lucid and compelling playing of Beethoven’s Symphony No 5 and Violin Concerto in the ‘Tognetti’s Beethoven’ concerts in 2018.

Above : Richard Tognetti leads  the ACO from the violin

The  ‘Eroica’ Symphony taking up the entire second half. ACO begins the offering with the progressive harmonies of the open cadences in the  Symphony No 1. A traditional structure ensues, with the brisk filigree of the burgeoning dramatist-composer in very safe hands here.

This early symphony’s slow movement is beautiful fare, with its gentle overlaps breathing with exquisite phrasing. Fine balance across the historic instruments brings the first movement home with humour and an increase in dramatic tone.

Beethoven will imbue this genre in so much more of this full emotional expression in future works. For now the blend of old and new communication is in crisp and accentuated evidence here from ACO.

From the outset of Symphony No 2, composed only two years later, ACO rise to the challenge of speaking in Beethoven’s newer symphonic voice-a bolder blend of dramatic declamation and more traditional motives with a decidedly more expansive and free Romantic outlook.

The hushed stillness and restraint maintained during this work’s second movement and its contrast to the brusque characterisations in Beethoven’s new third-movement scherzo and trio form are enjoyable features of this current interpretation.

Throughout this concert, third-movement Trio sections featuring the period wind instruments have excellent intimacy and colour. The playing of fanfare-like outbursts on period horns and trumpets will no doubt be relished by lovers of Classical and Romantic orchestral timbres in any audience listening live or to new recordings.

By the time ACO reach Symphony No 3 in this documentary or chronology they speak with a much more heightened and  full sound indeed. It is playing with a terriffic range of nuance, including some delicacies on the softer, smaller end.

This is meaty drama, with each movement slicing its way into our hearts, forging an even mightier version of the work’s diverse statements in our newest memory of this favourite.

“Eroica’s” finale in this interpretation is joyous. After a concert concept delightfully digestible despite being chock full of  the same composer, we are left incredibly inspred, wanting the symphonic odyssey of this groundbreaking composer to continue on its  immense trajectory .