Spring Break
Beethoven's sixth stars at concert
by Hannah Kirsch
Deputy Editor
Arts | 11/18/08
Posted online at 1:37 AM EST on 11/18/08
After the many unique, intriguing programs of the past two months or so, returning to a couple of repertoire classics with the Boston Symphony Orchestra was a comfort and a joy. But in mentioning to several friends that I would be seeing Beethoven's sixth symphony performed Thursday, Nov. 13, I encountered variations on a theme of ambivalence: "The Pastoral? It's pretty, I suppose." "Oh, the sixth. Okay, then." I often find that people prefer Beethoven's more dynamic, harmonically innovative symphonies, while most think that the sixth, with which many are familiar through the unicorn and drunken bacchanalia scenes from the classic Disney movie Fantasia, is more derivative and takes its genius from subtlety and imagery. But I am convinced that seeing the BSO perform the symphony would have driven all ambivalence out of my friends' minds.
Marek Janowski's conducting imparted all the drama and imagery of the work without bringing in overbearing provinciality. The strings seamlessly executed the first movement's many transitions between melody and background color, effectively communicating the smoothness and continuity that give Beethoven's music its beauty for much of this piece. The allegro third movement, "The Happy Gathering of Country Folk," skipped and danced appropriately, and it was a particular treat to watch the low strings, bassists especially, pour their strength into the "thunderstorm" segment of the work as they railed against the elements with the help of the brazenly blaring brass.
The much-loved second-movement solo passages for oboe, flute and clarinet by Keisuke Wakao, Elizabeth Rowe and William Hudgens had more life and presence than I have ever heard on a recording. The woodwind instruments imitate bird calls in this movement, subtitled "By the Brook," and together with the rest of the orchestra they beautifully evoked the organic atmosphere of animal sounds and rushing water. Hearing James Sommerville's ringing horn solos brought hunters and shepherds from the countryside into the concert hall; clearly, the music was more than simply "pretty."
Marek Janowski's conducting imparted all the drama and imagery of the work without bringing in overbearing provinciality. The strings seamlessly executed the first movement's many transitions between melody and background color, effectively communicating the smoothness and continuity that give Beethoven's music its beauty for much of this piece. The allegro third movement, "The Happy Gathering of Country Folk," skipped and danced appropriately, and it was a particular treat to watch the low strings, bassists especially, pour their strength into the "thunderstorm" segment of the work as they railed against the elements with the help of the brazenly blaring brass.
The much-loved second-movement solo passages for oboe, flute and clarinet by Keisuke Wakao, Elizabeth Rowe and William Hudgens had more life and presence than I have ever heard on a recording. The woodwind instruments imitate bird calls in this movement, subtitled "By the Brook," and together with the rest of the orchestra they beautifully evoked the organic atmosphere of animal sounds and rushing water. Hearing James Sommerville's ringing horn solos brought hunters and shepherds from the countryside into the concert hall; clearly, the music was more than simply "pretty."
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