New Jersey Symphony Orchestra – Jacques Lacombe, conductor; Marc-Andre Hamelin, piano. June 7, 2015.

Prudential Hall at NJPAC.  Tier G (Seat C106, $37.)

Program – All Beethoven

Corialan Overture, Op. 62 (1807).

Piano Concerto No. 5 in E-flat Major, “Emperor,” Op. 73 (1809).

Symphony No. 5 in C Minor, Op. 67 (1807-08).

Per the Program Notes, the piano concerto is the inspiration for today’s concert.  The overture and the symphony were both written around the same time, and also related key-wise as they are both in C minor.  On this point only people with perfect pitch can appreciate; I am not one of them.  Nonetheless both the concerto and the symphony are well-loved pieces, that we also have an overture in the program is a bonus.

The source of the overture is a drama by Heinrich von Collin, based on the same story as Shakespeare’s play.  It speaks of indecision and suicide, and the hero is destroyed at the end.  While I may not get the end result of “a tad depressing, but it is powerful in its finality,” I certainly enjoyed this relatively long (at 9 minutes) and not-often-performed music.

Of Beethoven’s five piano concertos and nine symphonies, the fifth in each category must be the most popular of the two genres.  They are probably the reasons this afternoon’s concert was nearly sold out.

The orchestra and the soloist gave competent renditions of both works, which were perhaps more formulaic than inspirational.  For the piano concerto, Hamelin just sat there and pounded out the notes with ease.  This is by no means an easy piece, but he made it look easy.  Our seats were quite close to the stage, and it appeared that he didn’t even break a sweat.  The orchestra was an equal partner with the soloist, providing support and contrast as necessary.

On a recent Jeopardy episode, no one could identify the Morse code …- as the theme from Beethoven’s fifth symphony, which was a bit surprising.  For today the notes that followed just came naturally, and rapidly.  For the next 30-some minutes the familiar sounds of the four movements (Allegro con brio; Andante con moto; Scherzo: Allegro; and Allegro) just flowed effortlessly in the auditorium.

We enjoyed the afternoon, as did the audience, if their applause was any indication.  Perhaps it is my growing respect for Lacombe and the Orchestra that made me wish for a more inspirational performance.

One other note, the General Manager (or CEO) of the Symphony came on stage at the beginning and acknowledged the service of members who have been with the organization for 25 years or more.  I was quite surprised at the large number of musicians in that category.