Critic’s Notebook: Jordi Savall’s Beethoven Cycle at the Konzerthaus, Part 4

Also published in Die Presse: Konzerthaus: Chor Hui, Horn Pfui – Sängerische Götterfunken zum Beethoven-Abschluss

L.v.Beethoven, Symphonies 1-5 J.Savall, Le Concert des Nations Alia Vox SACDs

L.v.Beethoven, Symphonies 1-5 J.Savall, Le Concert des Nations Alia Vox SACDs

Choir Yay, Horn Nay – Divine Sparks to End the Beethoven Cycle

A grand – and long! – finale to the Beethoven cycle of Le Concert des Nations under Jordi Savall with Symphonies Nos. 8 & 9.

Historic, indeed, this first historically informed Beethoven cycle on period instruments at the Konzerthaus, which came to its fire-drunken conclusion on Thursday evening with Symphonies No. 8 and 9.

Rough and energetic was the entrance into Op. 93; one could almost glimpse the Flying Dutchman in the first movement, or premonitions of the Ninth. And yet it’s just the – ever-so-sprightly – little Eighth, languishing in its neglected place between the Seventh, “Apotheosis of the Dance”, and the über-Symphony, "The Ninth", that overshadows all.

Beauty of sound and orchestral color were not this ensemble’s priorities, on this occasion. Rather rhythmic urgency and raw energy are its strengths – at least in this Beethoven cycle. That a certain nervous tension creeps in from time to time is understandable.

Accordingly thunderous was the dramatic opening of the Ninth; the second movement hurried along more with speed than tension.

The Concert des Nations' Beethoven Symphony Cycle reviewed: Jordi Savall’s Beethoven Cycle at the Konzerthaus, Part 1: A Squawking First Jordi Savall’s Beethoven Cycle at the Konzerthaus, Part 2: A Tale of two Halfs Jordi Savall’s Beethoven Cycle at the Konzerthaus, Part 3: Nearly Ideal Beethoven

Before the third movement, the latecomers – chorus, soloists, piccolo, creaky contrabassoon – entered the stage, and with them the black day of the horn player, whose downward spiral had already begun in the Eighth. A reminder, should one be needed, that even 75 years into the period performance movement, success on that instrument is never guaranteed.

Sensibly, the soloists were positioned at the front of the stage. Full-bodied and dramatic: bass Manuel Walser; the rest – unremarkable, which in the Ninth, especially with the ladies, is usually a good sign. Outshining them all was the chorus.

Just 36 voices, and yet they filled the Grosser Saal with an ease and volume, a physically palpable joy, enthusiasm, and energy that one had been hoping for from the orchestra for eight and a half symphonies. That was the foundation of the audience’s roaring enthusiasm. Ask ChatGPT
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