Michael J. Lutch and Hilary Scott, Courtesy of the BSO
Andris Nelsons and the Boston Symphony Orchestra’s current cycle advocated for such a optimistic interpretation of the composer’s musical worldview. They concluded their two-week live performance collection by pairing Beethoven’s shortest and longest symphonies: the 8th and the choral 9th.
Throughout its earliest seasons within the Eighteen Eighties, the BSO programmed every of the Beethoven symphonies virtually yearly. But this 2025 cycle (postponed from 2020 as a result of pandemic) was the primary time since 1927’s centenary of Beethoven’s loss of life that the BSO carried out all 9 symphonies in consecutive order with one conductor — first Serge Koussevitsky and now Nelsons. (Although the orchestra has carried out full cycles with a number of conductors, most lately in 2009.) Whereas such milestones aren’t essentially related for assessing the musical high quality of a efficiency, the event inspired an enthusiastic viewers to pack into Symphony Corridor.
Beethoven’s 8th symphony could appear genteel and unassuming in comparison with its bigger successor, but the piece is a miniature masterpiece of the symphonic kind. Whereas not as intense and daring as some recordings (Scherchen and Harnoncourt come to thoughts), the BSO’s rendition took a brisk method, from the joyful opening theme to dramatic growth part with string tremolos and Timothy Genis’s pounding timpani. The minuet was characterised by ample rubato, because the opening ländler theme began slowly and sped up with every sforzando beat. Nelsons introduced out a chamber-music really feel to the center part trio with a restrained, stately clarinet solo from William R. Hudgins and horn duet, accompanied by cellist Blaise Déjardin’s triplet motif (as a solo, reasonably than divisi cello part). Throughout the coda of the finale — that includes limitless repetition of the tonic chord, a signature Beethoven transfer — Nelsons pushed ahead a gripping accelerando and made punching gestures to convey the piece to an lively shut.
The 9th symphony equally ebbed and flowed, with added dynamic and tempo adjustments heightening the sense of drama. The coda within the first motion featured an prolonged rallentando, as murmuring strings strengthened the funeral D minor variation march earlier than a daunting return to the opening descending arpeggio theme.
Within the second motion scherzo, Nelsons’s gestures introduced out the longer melodic traces reasonably than simply the well-known repeated 3-note motif. Right here, Genis’s commanding timpani launched a vivid distinction with—generally on the danger of protecting—the softer taking part in from the strings. Regardless of his propensity for taking Romantic adagios slowly, Nelsons moved the third motion alongside, emphasizing the waltz-like rhythms of the a number of variations. The conductor nonetheless relished the silences throughout the motion by including a caesura earlier than the startling fanfare interruptions.
Michael J. Lutch and Hilary Scott, Courtesy of the BSO
Nelsons additionally added a fair longer pause between the recapitulation of the sooner themes earlier than the finale’s “Ode to Pleasure” theme. Following the second of silence, the double basses entered virtually imperceptibly, repeating the well-known melody even softer. This was Nelson’s most compelling determination of the night, gesturing in the direction of Beethoven’s ambiance of catharsis.
Baritone Andrè Schuen’s name for unity began off with a robust and clear “O Freunde.” Pointy pizzicato from the strings matched his sharp diction announcing that “all males are made brothers.”
David Butt Philip (who may even sing the position of Paul within the BSO’s efficiency of Die tote Stadt this week, in addition to Florestan within the Met’s Fidelio later this season) was capable of showcase the nice and cozy, wealthy timbre of his decrease register however strained when reaching troublesome excessive B-flats. Like Schuen’s diction, he emphasised every syllable in phrases like “Laufet, Brüder.” This produced a considerably stilted rendition of Friedrich Schiller’s well-known ode, although this can be a difficulty with Beethoven’s vocal writing — inserting many eight-note rests after every beat within the Turkish March part — reasonably than Butt Philip’s method.
Soprano Sara Jakubiak and mezzo-soprano Tamara Mumford accomplished the quartet. Whereas Jakubiak’s higher vary stood out, Mumford and Butt Philip’s decrease vary had been generally lined by the orchestra within the louder passages. The Tanglewood Competition Refrain, ready by James Burton, carried out admirably from reminiscence. Right here clear diction was essential, emphasizing the cosmic radiance of the “starry cover” below which “tens of millions” unite.
Whereas a Beethoven symphony cycle ensures to draw audiences, the Boston Symphony Orchestra has undertaken surprisingly little commemorative initiatives of different main classical music anniversaries this season, apart from some upcoming Ravel in time for his 150th birthday. Different attainable contenders — like Luigi Nono’s 100th birthday; Schoenberg, Ives, and Holst’s 150ths (to not point out Glière’s or Suk’s); and even Bruckner (whose works Nelsons steadily performs in Europe) and Smetana’s 200th — haven’t acquired the identical therapy, although admittedly such anniversaries shouldn’t be the primary car for orchestral programming. Nonetheless, the current “Beethoven and Romanticism” competition, with the symphonies offered alongside chamber live shows and masterclasses, was not solely a welcome addition to the BSO season, but in addition a reminder of Beethoven’s enduring enchantment to worldwide solidarity.
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