I had the great pleasure of singing Beethoven 9 twice under Maestro Herbig's baton back in the days of the Baltimore Symphony Chorus. While I am still sad and bothered that the BSO's management let the BSOC disappear in a flawed money grab years ago, I am sure Choral Arts will sing well and I am really looking forward to seeing this concert this evening.

Stuck in a rut, indeed! This symphony, as wonderful as it is, has been so overplayed that I now consider it something of a joke (which it clearly was never meant to be). It has been used and abused in so many different contexts (and misassigned the role of "representing" classical music!) that I fear it's taken on a rather odd life of its own. I listen to it rarely for this reason.

(When I _do_ listen to it, my favourite recording is Toscanini+NBC+RSC+etc. on RCA/BMG. Reiner? Nope. Furtwängler? Nope. Karajan? Nah. Just ol' Arturo -- for once, he was _perfect_ here, hurtling -- but not tearing - through the work like a beautiful comet with a magnificent tail.)

If we were to have a HIP conductor take the reins, I would vote for Thomas Fey: he'd whip the devil out of (or possibly into) the piece.

I may not be able to channel from beyond the grave, but I seriously believe that Beethoven himself would disapprove of the 9th's ridiculous overexposure (unless he were still collecting royalties, which, in this day and age, would surely make him smile!!!). What a pity, too, that we have to waste Herbig's visit on a true, tried, and trampled warhose. If they want a choral symphony, why don't they do RVW's "Sea Symphony" again?!! (They did a _great_ rendition of it years ago.)

(Just as a side note, I heard Stravinsky's "Symphony of Psalms" on WBJC the other day -- man, what a wonderful work! It reminds me of late Shostakovich... though I think, in this case, maybe Dmitri is reminding me of Igor... ;^)

Either the VW or Stravinsky work would be heavenly. Wouldn't sell a ticket in summertime, of course. Although we could rename the former 'Downee Oshun Symphony', just for marketing purposes. TIM

Thanks for the post. I don't know how to feel about the jadedness, though. I'm seeing this performance tonight and, as someone who's seen two symphonies, ever, this kind of thing gets me excited. It's the piece of classical music that, each time I hear it, gives me chills. I guess I can understand if aficionados are ho-hum about the Ninth, much as a Rolling Stones fan would get tired of "Satisfaction" and "Sympathy for the Devil," maybe? Still, I really like "Sympathy for the Devil." I don't know. Isn't there room for old standards and newer, fresher stuff? Isn't the tent big enough?

Please don't get me wrong. I'm not at all jaded about the Ninth, only dutiful performances of it. There has to be a reason to program the same stuff over and over, other than because it sells. It needs playing of great freshness, passion, new insight. That's what keeps music alive. Sometimes, a familiar piece becomes exciting all over again just by hearing in context with something else on the same program, maybe a work as revolutionary as the Ninth, but written at a different time and in a different style. Anyway, by all means enjoy the concert tonight. It's great that the Ninth has hooked you, as it has so many of us. And I hope you'll try many more classical events and discover many more pieces that give you chills. Many thanks for commenting. TIM

You probably didn't like the way the orchestra sounded because they've been playing amplified, ear-plugged, and with head sets all summer, in an absolutely shameful twist of programming. Where is their brilliant music director in a summer season like this?

Although I am going up to NY to all nine of Beethoven symphonies in 4 days next season, I agree that BSO’s summer season is stale. New York has mostly Mozart in the summer, why can’t we have something similar –Haydn anyone? Bach? “High on Haydn”? “Basically Bach”? Maybe some neglected moderns thrown in, Enesco, Martinu, Kodaly, Tubin,etc.

There's no end to the options. Personally, I'd love to get more Haydn here -- summer, fall, winter and spring. It's absurd how the "father of the symphony" is ignored by so many organizations dedicated to preserving the symphonic art. TIM

Just as a great poem can hold its power after many readings, so can a great piece of music. The Baltimore Symphony's performance of Beethoven's Ninth at the Meyerhoff on Friday evening was anything less than stale. It received a well-deserved, thunderous ovation from the audience, who clearly connected with the conductor, musicians, and choristers onstage and were deeply moved by this music. This is what a live classical concert is all about.

Bill raises an interesting point: What impact does playing pop type programs have on the quality of the performances when the orch. returns to classical repertoire? Is there a consensus on this?

Mitch

"Although we could rename the former 'Downee Oshun Symphony', just for marketing purposes. TIM"

Oh, please, don't you dare!!! They might actually _like_ that concept! (Heaven forfend...)

That chestnut would be right up there in rarefied idiot air with, "Opera: It's better than you think. It has to be." And we now know where _that_ slogan got 'em. At least _you_ are being intentionally funny!

I can hear ol' Ralph doing somersaults in Westminster Abbey right now. To paraphrase him from another context, I don't know whether he'd like it, and it's definitely _not_ what he meant. ;^)

I heard the Meyerhoff performance, and I find my opinions confirmed by this review. The first movement was distinctly underwhelming, and I don't remember Herbig taking it so briskly in the performance I heard a year or two ago. I can hardly imagine it being played faster. The last two movements were terrific, and the chorus a glorious surprise.

Thanks for sharing your views about the Friday performance. Strangely, I think most conductors today ignore the possibilities for real ear-grabbing drama in the first movement. Maybe it's just not considered politically correct now. TIM

Surely the Ninth is such a great work that one would want to hear it performed at least once a year. As to the claim that it's being over-performed, I don't think the schedules of our area orchestras - to include the NSO and the Philadelphia - will bear out that claim.
As to context, I recall you, Tim, had some good things to say about Alsop's performance last year that began with a short work by Bernstein. I fully agreed with your comments. Of course Alsop's approach to all of the LvB symphonies was to put them in a different context by leading off with contemporary works.
Finally, I seem to recall that you were not entirely pleased by Alsop's first movement, either. It seemed rushed; unfortunely it's now de rigeur, strictly PC, to play the symphonies at the tempos
LvB noted. Or close to them.
As radical as that sounds, Toscanini's tempi are very close and very acceptable - at the least. Other's use them and the work comes out stripped of it's grandeur, it's heroic, it's profound aspect.
In reviews of this and of recent performances, it's been the rule to praise - or over-praise the final movement. Perhaps more than its due.
The vocal parts were not written for the voice, but, written as if for orchestral forces. The singers themselves had - and still have - many problems with the vocal writing. Nevertheless, the experience on Friday and at other performances the effect is to end the work magnificently - however awkward the vocal writing is, it doesn't sound that way when performed well.
As to playing the symphony in HIP mode, we're seeing that as a trend that seems more and more the rule rather than the exception. To play the piece as you say in 'wildly romantic' style, a la Bernstein, would be unthinkable. His tempi unacceptable. I think this is not a good thing.

Thanks for the thoughtful comments. I don't think it would be disrespectful to a great work to let it rest for a year or two before trotting it out. I certainly think a summer festival -- and most of the BSO's Ninths have been part of the summer season -- could come up with a variety of blockbuster pieces. And the way Marin programmed the Beethoven symphonies with contemporary works could be applied to summer as well. As for interpretation, I sure wish there were still room for over-the-top individuality, but I well understand the stylistic limitations today. It should be possible to draw more mystery and drama from the first movement of the Ninth, more real fire and variety of expression in the second, than typically encountered today, even without straying too far from those famous metronome markings. One of my favorite live encounters was a concert by John Eliot Gardiner's period instrument orchestra. I'm still a Furtwangler man at heart, but Gardiner unleashed so much color and energy that I was totally persuaded. The music sounded brand new. So, if the Ninth is to be an annual tradition here, I'd just like to hear it performed with the greatest possible freshness. Herbig was probably the best so far, earning particularly high marks for making those last two movements come alive so effectively. TIM

I love The 9th and will never tire of it. As a singer in the choir, I look forward to performing this emotionally charged musical masterpiece - every - single - year. If one has tired of the piece, the nice thing is....you can pass on it.

Regarding those who disapprove of the BSO's expansion into more popular music I would have to say - lighten up and get with the times. The only sure way to guarantee failure in changing times is to refuse to change with them. I absolutely applaud and respect the Maestra's vision to broaden the symphony's reach and exposure to a far more diverse audience by performing a wide range of repertoire - some popular, yes. Again, if you are a stickler for "The Standards", that's fine. But it is an insult to each and every talented musician in this group to say that their musical integrity is compromised because of a varied book of music that one does not prefer. Again - if one doesn't prefer the repertoire - don't go. It's that simple.

The BSO would surely go the way of the Baltimore Opera Company if it did not find a way to draw in new listeners and find new supporters and donors who will keep this institution going in the years to come. I have personally fund-raised for the symphony and know that over the last several years a substantial amount of financial support, and attendees, have been lost. A musical institution like the BSO MUST find ways to ADAPT to a changing public dynamic in order to stay alive and thus continue to grace us all with their extraordinary musicianship.

I believe the the Baltimore Symphony Orchestra is doing just this and doing it successfully. I am proud and honored to have the opportunity to both sing with and listen to this amazing group of musicians.

Thanks very much for the impassioned comments. TIM