ADDA Simfonica and Trio Vibrart in Beethoven

Again the program looked familiar. The only thing that appeared not to be predictable was the playing. And on that score, the ADDA orchestra under Joseph Vicente, fronted by Trio Vibrart, we surely need not have worried. Indeed, the combination led only to celebration.

The program was all Beethoven. And Beethoven from that period of his creative life when he was actively pushing the boundaries of classical form to the limit in the establishment of musical Romanticism.

The second half was devoted to a performance of the Eroica Symphony. It is difficult to say anything new about work that is a pillar of European culture, a work that is so often performed and recorded. But what was really memorably original about this performance was its audience. It wasn’t that the orchestra played badly and that our collective interest wandered. Far from it! The concentration of this ADDA audience was almost audible at times, or inaudible, if you see what I mean. The quiet passages were listened to with such concentration and silence that every nuance of even the quietest music shone clearly through.

Beethoven’s design thus became completely visible. Obviously, this symphony was written to pay homage to Napoleon, but then the replacement of a triumphal march for a funeral march rendered the piece heroic, rather than laudatory. And what more, in this performance, specifically as a result of its audience’s concentration, the music allowed Beethoven’s purely personal statements to be experienced clearly and intimately. It is often said that the Eroica’s finale was Beethoven’s defiant gesture to his worsening deafness, but in this performance, the suggestions of doubt and insecurity were clearly in evidence. The result was a truly rounded and complete experience, full of vulnerability and self-doubt, as well as energy and heroism. How many pieces with a complete funeral march movement were ever branded triumphal? I simply don’t know. Here, and as much because of the audience’s concentration, we saw the full picture. An encore came from a movement from Prokofiev’s Classical Symphony, and it sent everyone home lighter.

The first half and been a complete gem. Beethoven’s Triple Concerto is often problematic in performance. The solo parts are probably not big enough to warrant booking three top-rated soloists. On the other hand, if the playing is less than perfect, or of the featured ensemble does not gel, the sense of a shared chamber music experience, which surely the composer intended but on a larger scale, would be lacking.

In this performance, the ADDA orchestra was fronted by a trio that regularly plays chamber music together, Trio Vibrart, Miguel Colom on violin, Fernando Arias on cello and Juan Pérez Floristán on piano. Individually, they were more than capable of playing concerto-like roles, but they also brought the cohesion of a chamber group to the music. This had the effect of thoroughly integrating the ideas, thoroughly integrating the chamber music of the soloist group with the chamber music-like orchestral interventions and accompaniment. The performance was not only a success: it transcended the concept of success.

As an encore, the Trio Vibrart offered an arrangement of one of Ginastera’s Argentinian Dances. The contrast that this folk-inspired, ever-so-slightly modernistic music presented brought the whole memorable evening together. Bravi to all concerned, especially the audience!