A stunning performance by the ACO led by Richard Tognetti, with fiery, blistering, tempestuous playing of the richly layered music.Directed by Matisse Ruby and dramatically shot (photography by Drew English) this is a powerhouse performance of what is arguably Beethoven’s most popular violin sonata. Known as The Kreutzer Sonata for its dedication to the violinist Rudolphe Kreutzer, lost in history is its original dedication to George Bridgetower, a far more accomplished violinist of West Indian descent and something of a kindred spirit to Beethoven. Bridgetower performed with the composer at the Sonata’s premiere in 1803 to massive acclaim but they fell out spectacularly, never speaking to each other again, and his name was removed from the dedication .Tognetti attempts to reestablish Bridgetower’s place in history. The sonata also inspired a Tolstoy short story and the composition of Janacek’s Kretuzer Sonata.
The studiocast begins with a voiceover about the Sonata’s history and a young boy (Kendly Hawkins) sitting at first in the stalls , then striding onstage and picking up a violin , striking a pose. Then, cut to Tognetti and the concert starts , lights going up to reveal the rest of the ACO ensemble .Beethoven’s work is in three movements. Tognetti thrillingly opens the work with a mind boggling blistering display of virtuoso technique and incredibly fast playing of the spiky, intense music. There is a change to a far slower and more pensive mood then back to agitated scurries on the violin, throbbing and heartfelt. The music pulsates and is passed around the various sections of the Orchestra then becomes a rolling wave of sound, which is followed by slower, softer, delicate cellos and doUble bass with long sustained notes. Skittering violins breathlessly interrupt then have a far more lyrical passage. There are some very fiery segments and Tognetti in a short, electric solo ends the movement with a grand flourish.
The second movement opens with surging eloquent cellos,Tognetti and the violins pulsate and comment. A brisk, jumpy melody is then taken and commented on leading to more breathless flurries on the violin .This changes to a richer, slower , more melancholy tone which is followed by a segment where the strings hover and shimmer , almost like birdsong with pizzicato.Tognetti leads eloquently as the movement cascades to its conclusion.
The final movement opens with a bang and features a galloping, anxious melody. Presto indeed. Its many layers are leaping and tempestuous .Tognetti on violin ravishingly ‘sings’, which leads to a major discussion by the whole Orchestral ensemble , followed by a slower, more poignant section which takes us to the speedy , scampering whirlwind finish of this passionately Romantic work.
The Australian Chamber Orchestra in Beethoven and Bridgetower screens from 24 November 2021 as part of the Studiocast series:
https://www.aco.com.au/whats-on/2022/studiocast-beethoven-and-bridgetower