CBSO Benevolent Fund Concert

Thursday 13 December 2012 at 7.30pm

Symphony Hall, Birmingham +44 (0)121 345 0603

 City of Birmingham Symphony Orchestra

Andris Nelsons conductor
Baiba Skride violin
Daniel Müller-Schott cello
Lars Vogt piano

Beethoven: Triple Concerto, Op.56 34′
Beethoven: Symphony No. 3 (Eroica) 47′ Listen on Spotify

The Birmingham Beethoven Cycle: The Eroica

Two chords slam out, and music will never be the same again. Beethoven’s mighty Eroica Symphony changed the course of musical history – but it’s not just a gripping musical portrait of the Age of Revolution. It’s a profoundly moving human drama, and in this concert devoted to the CBSO Benevolent Fund*, expect Andris Nelsons to find every last drop of emotion. And three musical superstars come together to give Beethoven’s playful Triple Concerto the ride of its life!

The CBSO Benevolent Fund, registered friendly society 735F, exists to support CBSO players and staff, past and present, at times of ill-health or other hardship

www.cbso.co.uk

Sponsored by Barclays

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Article about CBSO Benevolent Fund by Christopher Morley, Birmingham Post:

Click here for full article

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Review by Rohan Shotton, BachTrack:

Click here for full review

…     “I have never seen a group of players enjoy playing together so visibly as pianist Lars Vogt, violinist Baiba Skride and cellist Daniel Müller-Schott. Each would sway gently and lean towards the others for musical dialogue. Their clear rapport imbued the performance with an infectious sense of fun whilst achieving perfect coordination in their ensemble. Clearly they all wanted to be there: none of the soloists, conductor or orchestra took a fee for this concert in aid of the orchestra’s benevolent fund. Each displayed a palette of controlled pianissimo and exuberant bravado. Beethoven gives the cellist the dominant role, and Müller-Schott played beautifully. His handling of the second movement’s lyrical melody was magnificent, and Skride’s hushed violin accompaniment was a subtle icing.”     …

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Review by Clive Peacock, Leamington Courier:

Click here for full review

…     “In recent months we have become familiar with Baiba Skride’s skills as a violinist. The cello performance by Daniel Müller-Schott was nothing short of astonishing and Lars Vogt’s piano contributions were an important element in maintaining the balance. The orchestra responded well to Nelsons’ demands for changes of pace and the overall togetherness produces, at times, a spine-chilling intensity. Baskets of flowers were duly presented to soloists in recognition of a truly memorable performance.

Beethoven’s Symphony No. 3 (Eroica) is a milestone in the composer’s maturity. The work is full of creative energy, indeed, and with Nelsons in charge, the last movement was an outpouring of creative energy. Having recognised individual contributions by Marie-Christine Zupancic (flute) and Rainer Gibbons (oboe), Nelsons acknowledged the sustained, accurate responses of timpani player, Peter Hill.”     …

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Review by Andrew Clements, Guardian:

Click here for full review

…     “It was the most revealing examination of his credentials as a Beethoven interpreter so far – the Eroica Symphony – and if Nelsons did not emerge totally triumphant from the test, his performance had more than enough moments of surging power and intensity to suggest that when it is fully achieved his reading will be one to reckon with.

At present it’s the outer movements, especially the first, that are the most impressive. The explosive power of the fabulously precise tutti chords in the opening exposition set the tone for a movement that seemed to be conceived in a single, giant breath, while the elements of the finale were all shaped towards the equally explosive outburst of energy in the closing coda.”     …

 

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Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “Andris Nelsons and his willing orchestra gave us a lithe, well-weighted and totally appreciative account of this wonderful work. Horns (Beethoven augmented them for the first-ever expressive reason in a symphony – Haydn and Mozart’s examples of four horns were for technical expediency) were nobly magnificent, woodwinds were eloquent, and strings were deliciously responsive to Nelsons’ often baton-less beat.

This was so well paced, climaxes arriving inevitably and so judiciously. No wonder Nelsons clapped his players at the end, and, gods be praised, this performance has been captured by |Orfeo for future CD release.”

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