Monday, January 11, 1999
New York Phil thrills audience with spectacular performance
MUSIC: Conductor Masur leads orchestra though dazzling show at
Royce
By Ai Goldsmith
Daily Bruin Contributor
Of the famous "tatata-Taa" opening of Beethoven’s "Symphony No.
5," Beethoven said, "Thus fate knocks at the door." On Saturday,
the New York Philharmonic came knocking on the doors of Royce Hall,
giving an outstanding performance of the piece nicknamed
"Beethoven’s Fifth," followed by Shostakovich’s "Symphony No.
5."
Since Beethoven’s Fifth has been played in concert halls around
the world since 1842, the greatest challenge lies not just in
performing it well but in moving the audience. And that is
precisely what the New York Phil did.
With the inherent urgency of Beethoven’s famous "fate" theme,
Conductor Kurt Masur ushered in an energetic performance of the
first movement, showcasing the New York Phil’s impeccable
technique, intensity and dramatics. Listening to the mesmerizing
whirl of notes, one could hear Beethoven’s "fate" adopt its own
shape and voice, mocking and jeering between moments of illusory
sweetness. The movement was played with such energy and intensity
that it seemed to take the listener to the next movement in a
matter of moments.
Unlike the storm-like energy of the first movement, the second
movement of Beethoven’s Symphony No. 5 brings the listener into a
world of sweeter, sonorous tones. Yet, despite its gentler nature,
the music does not decrease in intensity. The New York Phil’s
performance played out the drama between musical tension and its
release, setting Royce Hall resounding with emotive sounds.
As the orchestra breathed life into Beethoven’s notes, one
became more aware of the complexity of communication that allows
the New York Phil to create such wondrous musical moments. In a
slower-moving piece such as the second movement, it was easier to
discern the intricate web of communication that tied maestro Masur
to the orchestra. A master of gestures, even the slightest lift of
Masur’s fingers sent a message across the stage. As Masur led the
orchestra through Beethoven’s Fifth from memory, his eyes never
left the orchestra, and the musicians never seemed to fail his
command.
As the program progressed through four movements of Beethoven’s
symphony, the New York Phil seemed to gather more energy from the
music. What had begun with an undercurrent of restrained intensity
ended in a finale bursting with energy. The New York Phil took
listeners on a moving, exciting ride through the world of Beethoven
and was greeted promptly and zealously by a standing ovation from
the crowd.
In this, the 12,978th concert of the Philharmonic, the number
five seemed to be the common factor. Beethoven’s Fifth symphony was
followed by Russian composer Dmitri Shostakovich’s "Symphony No. 5,
Op. 47." This symphony, written in response to censorship enforced
by Stalin’s arts council, Pravda, played out a theme of one man’s
struggle with life, ending in a triumphant resolution of his
tragedies. Although this theme echoes that of the theme in
Beethoven’s Fifth, there is an element of tongue-in-cheek humor to
Shostakovich’s "Symphony No. 5" that is different from Beethoven’s
symphony.
The New York Phil’s performance of Shostakovich’s "Symphony No.
5" was as astounding as its performance of Beethoven’s Fifth. The
musicians played with such a vast array of tone colors and clarity
that the instrumental lines remained distinct, while still
intricately blended with each other.
Furthermore, the orchestra played with unceasing energy and
unfurled an astoundingly upbeat, technically challenging finale
that spoke wonders of the musicians’ endurance.
Yet, the best part of the New York Phil’s performance of
Beethoven’s "Symphony No. 5" and Shostakovich’s "Symphony No. 5"
was that one did not just see and hear a world-renowned conductor
lead a famous orchestra. What made the performance so amazing
wasn’t that they answered the crowd’s applause with two encores
(finale to Tchaikovsky’s "Serenade for Strings" and a
Dixieland-esque brass piece) or that they played with superb tone
and technique. What made the performance so enjoyable and great was
that the New York Phil did not impose itself on the music. What the
audience heard Saturday was not just the New York Phil playing
music by Beethoven and Shostakovich.
Instead, the ensemble let the voices of Beethoven and
Shostakovich speak for themselves.
Comments, feedback, problems?
© 1998 ASUCLA Communications Board[Home]