Beethoven’s Concerto for Violin, Cello and Piano in C, Op 56, known as the Triple Concerto, is often regarded as something of a curiosity, never approaching the stature of his other concertos. Yet, given the pulling power of a starry lineup of soloists, the concerto takes on a particular attraction for audiences. It was interesting enough that the Ukrainian-born Finn, Dalia Stasevska, was conducting the Hallé Orchestra for the first time – her actual debut at Manchester’s Bridgewater in the same programme the previous night – but it was the trio of cellist Sheku Kanneh-Mason, violinist Hyeyoon Park – replacing the indisposed Nicola Benedetti – and pianist Benjamin Grosvenor who brought in a packed house.
There was certainly no grandstanding, rather they entered it in the intimate spirit of chamber music, with Stasevska helping set this up with an understated opening orchestral exposition. Thematic material, often introduced by the cello and answered by the violin, was most expressively phrased: Kanneh-Mason and Park were well matched in sweetness of tone, with Grosvenor’s crystalline playing adding elegant flourishes to complement the strings. It was in the final Rondo alla Polacca that both the trio and Stasevska showed their instinctive feel for Beethoven, underlining his wit and playfulness as well as musical grace.
