Hartford Symphony Orchestra, Hartford, CT
November 5–7, 2015
by Michael J. Moran
If you were an expert conductor and pianist, what better
composer could you find to showcase your skills than the protean Beethoven, who
played and conducted his own piano concertos on multiple occasions? Returning
to Hartford after his triumphant HSO debut last season, that’s exactly what
guest conductor William Eddins did.
His all-Beethoven program opened with an exciting account of
the dramatic “Coriolan” Overture, inspired by a then recent play about the
ancient Roman warrior Coriolanus. Eddins is a full-body conductor, and his
vivid gestures (with no score, baton, or podium all evening) drew committed and
responsive playing from every section of the orchestra, which was reduced
throughout the concert to about 40 musicians, the size of a classical orchestra
in Beethoven’s tine.
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| William Eddins |
For the third piano concerto, Eddins was seated at the
keyboard center stage facing the orchestra with his back to the audience.
Beethoven’s only concerto in a minor key, it opens in a somber mood, which is
sustained through much of the long first movement and most of the Rondo finale.
In the radiant central Largo, the conductor/pianist caressed the keys in
contrast to his more thundering approach in the opening movement and a lighter,
more playful touch in the finale. Whether by nodding his head, leaning his
torso, or waving his arms when free, Eddins maintained steady contact with the
musicians and elicited a stirring orchestral performance to underline his
incisive piano playing.
Bypassing the more often played odd-numbered symphonies, he
closed the concert after intermission with a robust rendition of Beethoven’s
eighth and most joyous symphony. Moderate tempos in all three pieces on the
program gave the music time to breathe and highlighted details not always heard
at faster speeds. The blustering bravado of the opening Allegro, the bubbly
humor of the Allegretto, the pastoral charm of the minuet and trio, and the
rollicking spirit of the monumental finale were all brilliantly realized by
conductor and orchestra.
It was heartening to see an even slightly more diverse than
usual audience welcoming this African American superstar back to the Belding
Theater. Another encore, please.
