PARIS: The last concert in the Beethoven by Gatti serie of concerts with Orchestre National de France at Théâtre des Champs Élysées happend on Thursday Novembr 15th, with Beethovens Symphonie no 9. Together with the world premiere of the second part of Bruno Mantovanis Cantate no 3.

Applause after Beethoens 9.Symphony. Orchestre National de France. In the center from left: Matthias Brauer, Choire chief, Georg Zeppenfeld, bass. Robert Dean-Smith, tenor

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. Daniele Gatti, conductor
. Yonne Naef, alto. Riccarda Merbeth, soprano

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. Photo: Tomas Bagackas.

Reiew by Henning Høholt, photos from the applause by Tomas Bagackas.

SOUNDS, SOUNDS, SOUNDS – little music.

Bruno Mantovanis Cantate no 3. second part, became, for me,  a show of effects and sound,  – A presentation of posibilityes of making effects, sound, unfortunately I was missing music in it. The applause was not ovasions. Very reduced, comparing with some of the other creations, presented in the same seria. Where some of them were extraordinary.

It starts with a string part in celli and breatch, I noticed atonale undertunes. Like driving in an elevator, which is a bit delayed, building up to a large crescendo, which is immediately taking over by a pianissimo choire. A good effect, which was repeated later in the third part of the Cantata. This effect was underlined by a few second violines. Very little happens.  A single soprano voice, beautiful sung by Claudine Margely on top of the violins – a horn takes over the same tune from the soprano. A lot of combinations between the differint instrumental groups and the choire. Strange combinations with a lot of flashong flutes, bells, a claming, sad clarinet tune. I am not really sure in what direction this composition is going.

This composition must have been dificult to understand for the orchestra, choire and conductor, as it is for the critics and the audience. A pity that this piece not was being repeated, as it has been the case with the other four new creatins during this seria of Beethoven by Gatti, this might have been giving me another feeling. Unfortunately right now, that for me, it sounds klike a lot of sound effects, put on top of eachother. Still there is a text, but for me i need to get the text underlined with a music, which gives me an impression. I didn´t find that.

Portrait of Ludwig van Beethoven in 1820. Beethoven was almost completely deaf when he composed his ninth symphony.

After the break, one of the highlights from Beethoven:

The Symphony No. 9 in D minor, Opus. 125, is the final complete symphony of Ludwig van Beethoven (1770–1827). Completed in 1824, the symphony is one of the best-known works of the Western classical repertoire.  Among critics, it is almost universally considered to be among Beethoven’s greatest works, and is considered by some to be the greatest piece of music ever written. That is also a ery demanding work to perform. It needs an excellent choire, such as the Choire of Radio France leaded by Matthias Brauer. They did a wonderful job, deliciouse details, homogenity, balances between the different groups, pianissimo as well as fortissimo was well balanced, and it showed great musicality. Furthermore their cooperation with the conductor Daniele Gatti was good.

Regarding the Orchestra, that I hae had the great pleasure of following during all these 5 demanding concerts. For the first time,  i was getting the feeling that they had spend too much time in working with the extremely demanding Cantata piece by Bruno Mantovani, to get that perfect, and perhaps not had enough time to work so detailed with the first two movements of Beethovens 9th Symphony as in fact was needed, but when we came to the last two moements, the quality was as usual first class. It might be that my ears was starting to be tired (?).

The symphony was the first example of a major composer using voices in a symphony, thus making it a choral symhony. The words are sung during the final moement by four vocal soloists and a choire. They were taken from the “An die Freude“ is translated as “Ode to Joy”, a poem by Friedrich Schiller in 1785 and revised in 1803, with additions made by the composer.

Beethoven by Gatti

It is interesting that with this Symphony that, for me, in fact the finale part, movement 4, is allready underlaying in the beginning atmosphaere in the first part. This opening theme, played pianissimo over string tremolos, resembles the sound of an orchestra tuning, commentators have suggested that this might hae been Beethoven’s inspiration. But from within that musical limbo emerges a theme of power and clarity which will drive the entire movement.

2nd movement a scherzo and trio, also in D minor, starts with the introduction bearing a passing resemblance to the opening theme of the first movement, a pattern also found in the Hammerklavier piano sonata, written a few years earlier. The contrasting trio section is in D major and in duple time. The trio is the first time the trombones play in the movement. Following the trio, the second occurrence of the scherzo, unlike the first, plays through without any repetition, after which there is a brief reprise of the trio, and the movement ends with an abrupt coda. We do feel the vibratoons, specially in the ending rondo.

3rd movement: Softnes and not rushing tempo, that the conductor keeps through all the second part, is giving good signals, while then the conductor has something extra to give in the end of that part, in his good tradition to let pianissimo build up to great crescendi.  But this gives us better chanche to enjoy the different details which ar ebein more clear to us. This movement also introduces the atmosphaere in the end of the symphony, like that Beethoven wanted to give us a signal of what was going to come.  As usual with Gatti, – one of his wonderful pianissimo parts building up to the movement, but he manage to keep the same relaxed tempo all the time, even when he is building up the sound level.

Applause after Beethovens 9th Symphony. Photo Tomas Bagackas

4th movement: It starts with an introduction, which starts with a stormy Presto passage. It then briefly quotes all three of the previous movements in order, each dismissed by the cellos and basses which then play in an instrumental foreshadowing of the vocal recitatie. At the introduction of the main theme, the cellos and basses take it up and play it through. The main theme forms the basis of a series of ariations for orchestra alone. Then the introduction is repeated from the Presto passage, this time with the bass soloist singing the recitatives previously suggested by cellos and basses. The main theme again undergoes variations, this time for vocal soloists and chorus.

The baryton soloist, Georg Zeppenfeld opens it all in a great way. And after a while we hae had all the solists singing, Ricarda Merbeth, as sporano with a bit too much vibrato for me, but shining well on the top, as it is her job to do.  Yvonne Naef was the Alto, and Robert Dean-Smith the tenor. A good ending of a 15 day long meeting with Beethovens 9 Symphonies, and 5 creations of contemporary compositions for symphony orchestra by 5 interesting composers, Fabian Waksman, Bechara El-Khoury , Guillaume Connesson, Pascal Zavaro and Bruno Mantiani. Interesting to enjoy how many talented composers, and how different they are composing. Sarah Nemtanu was the concertmaster theis final Beethoven by Gatti evening.