Austin’s entertainment and culture scene experienced a historic weekend, highlighted by various significant events. Willie Nelson captivated 3,500 fans during the 50th anniversary of “Austin City Limits” on Thursday at the Long Center for the Performing Arts lawn. Additionally, over 100,000 sports enthusiasts gathered to watch the University of Texas Longhorns compete against the University of Georgia Bulldogs at DK Royal Memorial Stadium, while another 120,000 attended the United States Grand Prix at the Circuit of the Americas.
Amidst this vibrant cultural backdrop, another landmark event unfolded: approximately 5,000 attendees cheered enthusiastically as Austin soloist Anton Nel collaborated with the Austin Symphony Orchestra, under the direction of Peter Bay, to perform all five of Beethoven’s piano concertos over two concerts at the Long Center’s Dell Hall on Friday and Saturday.
This remarkable performance could be considered the orchestra’s finest hour.
Arranged as a chamber orchestra, the musicians approached each concerto as if it were a symphony, engaging in a profound harmonic partnership with the soloist, which highlighted five masterful works.
Ludwig van Beethoven’s revolutionary impact on Western music cannot be overstated. Although he maintains a connection to the musical styles of the previous century in his first two concertos, the evolution of his genius becomes evident when all five are performed consecutively. By the time the audience reaches No. 5, the “Emperor,” it feels as if they have stepped into an entirely new realm.
Anton Nel: Austin is fortunate to have a concert pianist of Nel’s caliber. While he frequently travels to perform with prestigious orchestras worldwide, he has dedicated at least 20 concert pairs to his hometown ensemble, reflecting his collaborative relationship with Bay and his team. “This week has been one of the happiest of my life,” Nel expressed before the first concert began. “Making music with all these friends.”
Peter Bay has transformed Austin’s classical music landscape since becoming music director and conductor in 1998. His exceptional musicianship, combined with his amiable nature and genuine curiosity about the world, makes him an ideal fit for the city. It’s no wonder over 80 orchestras have sought his conducting expertise.
Dell Hall: Recently, I visited Belgium and the Netherlands, where I fulfilled a lifelong dream of experiencing Beethoven’s Symphony No. 3, “Eroica,” at the Concertgebouw in Amsterdam, renowned for its exceptional acoustics. While Dell Hall may not match that prestige, the sound from our seats near the front of the mezzanine was rich and allowed each instrument to shine.
The New Steinway: Earlier this year, Nel introduced a new 9-foot American Steinway, the first concert piano owned outright by the orchestra. The unique character of this instrument seemed to enhance the performance, filling the hall beautifully while capturing even the subtlest touches of the pianist’s fingers, which captivated the audience.
The concert program did not follow a strictly chronological order. The first night featured Beethoven’s first, second, and fourth concertos; the second night included the third and fifth, preceded by the overture to “The Creatures of Prometheus,” a rarely performed ballet from 1801, which piqued my curiosity to experience the entire work.
Piano Concerto No. 1 in C Major: This piece begins with a clear balance between the orchestra’s architectural precision and the piano’s fluidity, shifting into a romantic interplay before concluding with an exuberant flourish.
Piano Concerto No. 2 in B-flat Major: Here, Beethoven surprises listeners with unexpected elements in the opening movement, leading to an intricate dialogue between the pianist and orchestra. The concerto concludes with a lively finale that rivals the first in its playful spirit.
Piano Concerto No. 4 in G Major: Nel described this music as “the most beautiful thing made by human beings,” and it’s hard to disagree. While the concerto’s structure remains familiar, the piano dominates, guiding both the orchestra and audience through ecstatic second and third movements. After so much focus on the performance, it felt as if the piano were levitating above the stage.
Piano Concerto No. 3 in C Minor: Although it was slightly unusual to hear this concerto out of order, its charms remain intact. The first movement is inventive and intricate, the second intimate, while the third is exuberantly playful.
Piano Concerto No. 5 in E-flat Major “Emperor”: In this grand piece, Nel didn’t merely overpower the score; he masterfully navigated its drama, with striking rhythmic changes and unexpected emotional exchanges between the piano and orchestra. By this point, any reservations from the audience had melted away, allowing the magnificent music to wash over us.
After achieving the remarkable feat of performing five concertos, each lasting over 30 minutes, in just over 24 hours, Nel and Bay appeared relieved, content, and exhausted. For his final encore, Nel performed the poignantly simple second movement of Beethoven’s “Pathetique” sonata, eschewing grand gestures for a gentle unfolding of music, akin to a serene night sky.
While the Austin Symphony has accomplished many impressive feats, this performance felt particularly special. Amid a weekend rich with cultural activities, the city’s oldest arts organization, founded in 1911, showcased its ability to create history through a sublime gift to the community.
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