Concert Review: A Pair of Nines Beats (Almost) Anything

Two different takes on Beethoven's last symphony. 
by Paul J. Pelkonen

From a drawing of Friday evening's performance of Glen Roven's Goodnight Moon.
Art by Joan Chiverton. Used with the kind permission of Glen Roven © 2016 Joan Chiverton.

Ludwig van Beethoven's Symphony No. 9 in D minor is a difficult work to bring forth, with an heroic length that exceeds seventy minutes. The last movement requires four soloists and a chorus that can handle Beethoven's complex polyphony, the creation of a deaf composer who valued sound over ease of singing. On Friday and Saturday, two different arts organizations took on this titan, with the National Chorale offering it at Avery Fisher Hall and the Park Avenue Chamber Symphony presenting the Ninth on Carnegie Hall's main stage.

Concert Review: It Was the Bottom of the Ninth

The Vienna Philharmonic opens Vienna: City of Dreams.
by Paul J. Pelkonen

Franz Welser-Möst. Photo by Terry Linke © 2010 The Vienna Philharmonic.

Beethoven's Ninth Symphony is a cornerstone of the concert repertory, a natural choice for the Vienna Philharmonic to open Carnegie Hall's Vienna: City of Dreams festival. On Tuesday night, the orchestra arrived in New York to begin their much-anticipated six-performance residency with a performance of the Ninth under Austrian conductor (and favorite son) Franz Welser-Möst.

Concert Review: Peace, Love and Beethoven

The West-Eastern Divan Orchestra plays Carnegie Hall.
by Paul J. Pelkonen

Daniel Barenboim. Photo © 2013 EMI Classics.

This past week at Carnegie Hall featured one of the most eagerly anticipated events of this young calendar year, four concerts by Daniel Barenboim and the West-Eastern Divan Orchestra. Founded by the Israeli conductor in 1999, the orchestra is an assemblage of young musicians from Spain, Israel, Palestine and other Middle Eastern countries. Its goal: promoting peace, love and understanding between the peoples of the Holy Land through Western classical music.

For these concerts, Mr. Barenboim chose the nine symphonies of Ludwig van Beethoven, which range from wry humor to inconsolable rage, ending in the profound, mystic choral finale of the Ode to Joy. This review is of Saturday performance, which featured the Sixth and Seventh Symphonies, and the Sunday matinee with the Second and the Ninth.

Mr. Barenboim's conducting has been a matter of divided opinion over the course of a long podium career. Like his hero Wilhelm Furtwängler, Mr. Barenboim takes a loose, organic approach to the tempo of a piece, with the result of unusually fast or slow music-making. Occasionally he will bend and scoop the air, drawing a swell from a particular section, or point and thrust with his baton to indicate volume from a woodwind. Otherwise, he appeared almost nonchalant, leaning back and letting the orchestra do their jobs without vigorously beating time.