Classical music: Did Beethoven borrow from Beethoven? And how do you think the Madison Symphony Orchestra did with Beethoven’s Ninth? Plus, the Wisconsin Youth Symphony Orchestras (WYSO) finish up their spring concerts this weekend.

REMINDER: This weekend the Wisconsin Youth Symphony Orchestras (WYSO) finish up their spring concerts at Mills Hall and Overture Hall, where the music students will perform a Side-by-Side concert with the professional players of the Wisconsin Chamber Orchestra.

Here is a link to more information and details:

https://welltempered.wordpress.com/2015/05/08/classical-music-education-wyso-spring-concerts-start-i-this-saturday-and-run-again-on-may-16-17/

By Jacob Stockinger

Well, you have to hand it to music director and conductor John DeMain as well as the orchestra players, the chorus members and the guest soloists: The Madison Symphony Orchestra (below, in a photo by Greg Anderson) sure knows how to finish up a season with a bang.

A very Big Bang.

Last weekend in Overture Hall, they closed the current season with a stratospheric performance of Beethoven’s Ninth.

Sure, all parties — especially concertmaster Naha Greenholtz (below) — also did a terrific job in performing Leonard Bernstein’s violin concerto-like “Serenade” (after Plato’s “Symposium”), which preceded the iconic Beethoven symphony.

But it was the Beethoven symphony that grabbed everyone’s ears and didn’t let go, earning a well-deserved and instant standing ovation.

This was Beethoven at his exciting best.

All the musicians played tightly and DeMain (below, in a photo by Prasad) managed to make the old radical piece sound radically new, with a driving rawness and roughness (lots of loud and highly accented percussion) coupled with flawless precision and great balancing of the winds and strings as well as the brass.

This interpretation was both dramatic and transparent in a way that both thrilled you and helped you to understand the music and its structure.

A couple of years ago I remarked that DeMain – who came here from the Houston Grand Opera as primarily an opera conductor – had developed into a great Brahms interpreter.

Now I can say the same thing about his having become an outstanding Beethovenian.

But I did have one question:

Am I the only one who hears the slow movement of Beethoven’s early “Pathétique” piano sonata in the opening of the slow movement of his Ninth Symphony?

Listen for yourself and decide by using these YouTube videos:

First, here is the Pathétique’s slow movement, played by Daniel Barenboim, that has been used as a theme song by many musicians including Karl Haas:

And now here is the slow movement, also with Daniel Barenboim conducting the West-Eastern Divan Orchestra made up of Israeli and Palestinian students, of the Ninth Symphony:

Maybe I am hearing things that aren’t there.

Or maybe musicologists have long established the similarity between the early and the late work as fact -– though I cannot recall having seen it mentioned.

What do you think of the comparison?

Can you think of other pieces that sound as if they were twins separated at birth? Leave names – and maybe a YouTube link – in the COMMENTS section.

And what did you think of the final concert by the Madison Symphony Orchestra?

The Ear wants to hear.

 

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Posted in Classical music
Tags: alto, Arts, bass, Beethoven, brass, chamber orchestra, choral music, Classical music, concertmaster, concerto, conductor, Daniel Barenboim, Jacob Stockinger, Johannes Brahms, John DeMain, Karl Haas, Leonard Bernstein, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, Music, Orchestra, Overture Center, Pathetique Sonata, percussion, Piano, Plato, Platonic dialogue, Serenade, Sonata, soprano, strings, Symposium, tenor, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, vocal music, West-Eastern Divan Orchestra, winds, Wisconsin, Wisconsin Chamber Orchestra, Wisconsin Youth Symphony Orchestras, WYSO, YouTube