Music / Triple Treat, Selby and Friends. At James Fairfax Theatre, NGA, August 30. Reviewed by ROB KENNEDY.

In an all-Beethoven concert by Selby and Friends, they performed three works that illustrated the development of his musical style.

Beethoven featured wholly in this program with two of pianist Kathryn Selby’s favourite guest artists, Susie Park on violin and Timo-Veikko Valve playing cello.

They opened with Beethoven’s Piano Trio in B-flat, Op. 11. First the burst, just to announce the presence of the composer, the attention-grabber, then the meat of the music. This is Beethoven’s way of drawing your ear to the centre of his music. It works. His trademark is the impeccable craftsmanship and flawless construction of each piece. This trio is no exception to his rule.

Sublime transitions, music that is balanced between subtle expression and earth-shattering intensity. Yes, that’s Beethoven. But to pull it off, to do it justice, you need high-quality performers, and with Selby and Friends, this is always displayed.

And for this concert, the highly colourful violinist Susie Park, the refined and passionate Timo-Veikko Valve on cello, and the ever accurate and professional pianist Kathryn Selby. And their playing? Seamless beauty.

The Piano Trio in E-flat, Op. 70 No. 2, showed how this composer is the endless tune maker. No matter what instrument or style, melodies flow. As precise as Bach, and classical as Mozart, Beethoven’s music is so well formed, everything fits like a fine watch mechanism.

Another aspect of Beethoven is he always surprises. The E-Flat Major does not try to grab attention at its opening. It slides into life through a subtle tune, played softly and slowly on cello and violin. It soon becomes raucous, then follows a slow, fast construction all the way through. In four movements, it was more outstanding writing and a lot of fun, as Selby said it would be.

After the interval, and audience questions, the highlight of the program, Beethoven’s virtuosic Triple Concerto in Carl Reinecke’s stunning 1866-67 arrangement for piano trio. In three movements, the orchestral nature of the music was not immediately apparent. Certainly dynamic and robust was the music, but not like a concerto in nature with its thick textures, yet individual colours shone through.

I’d hate to have to arrange Beethoven. It would be so hard to do his music justice. Through his fine skills, the arranger and composer Carl Reinecke managed to capture both the boastful nature and compositional excellence.

It’s a tour de force this work. It takes a lot of intense concentration; it was evident on the players’ faces. The intensity showed itself through Valve’s cello. It required a heavy retuning after the first movement.

The slow movement had a languid, expressive nature, as an orchestral work would sound. It sang strongly across intimate and loud phrases. The final section was a fast ride across exciting musical territory. In a fun and friendly concert, the enjoyment was high and the music ultra entertaining.