Soloist Insights: Heleen du Plessis on Beethoven's 'Triple Concerto'

The Beethoven Triple Concerto feels a little like climbing a mountain from the cello chair. The cello part is expansive, exposed, technically demanding, yet also deeply lyrical and expressive. What I love about the work is that Beethoven seems to celebrate each surge of virtuosity from the trio with magnificent orchestral tutti passages that feel as if the orchestra is there to cheer them on.

At the heart of the piece is conversation: between the three soloists, between soloists and orchestra, and between chamber music intimacy and symphonic scale. Performing it with Tessa and Terence, colleagues and friends over many years, makes that dialogue especially meaningful.

It is also a privilege to perform this work with the Dunedin Symphony Orchestra during a year celebrating both 100 years of the Music Department and 60 years of the DSO.

Having Umberto Clerici—a world-class cellist himself—conduct the work is hugely exciting, inspiring, and slightly intimidating at the same time. At moments, I feel like swapping the cello for the baton. All in all, I could not hope for a more supportive orchestra, conductor, and fellow soloists — a special piece shared with special people in a very special moment.