Tafelmusik Baroque Orchestra and Chamber Choir. Beethoven’s Ninth Symphony. Koerner Hall. February 4
[Originally Published in the Toronto Star]
What would Beethoven have heard? Brandishing the equivalent of field cannons, pitch-forks and bull-whips, with gut strings, valveless horns and baroque contrabassoon, Tafelmusik proposed a possible answer with a performance of Beethoven’s Ninth Symphony last night.
Reliving Beethoven’s Ninth is not without its dilemmas. Beethoven wrote it after his hearing had nearly disappeared, and orchestras were still getting used to the now standard doubling of winds and brass. What Beethoven would have heard would have likely been a very different experience, compared to the clean and dainty rendition we heard from Tafelmusik.
The highlight of Tafelmusik’s approach was found with conductor Bruno Weil, who took the composer’s precarious tempo markings with a grain of salt and allowed the nuances to tell the tale. The effect was a focus on the translucent inner workings of the symphony, which can often get blindsided by the brash size of large, modern orchestras.
My highest compliment would be that nothing felt forced at all. In particular, the Presto was clearly articulated and gave motion to Beethoven’s declaration of universal brotherhood. With Jeanne Lamon sitting forthright, the quiet transparency of the symphony’s accentuations roamed about, unhindered among the full and appreciative audience at Koerner Hall.
Soloists included bass-baritone Simon Tischler, tenor Colin Balzer, soprano Ruby Hughes and mezzo Mary-Ellen Nesi. Each sang the final “Ode to Joy” – filled with text littered with the blessings of wine, sex and friendship – with a balanced and skillful savoir-faire. The soloists were backed by the Tafelmusik Chamber Choir, headed by Choral Director Ivars Taurin, who sung with a rounded and precise articulation throughout.
Held up by the choir’s rock-steady basses, the Chamber Choir filled the first half of the concert with three acapella works. These included a charming rendition of Joseph Rheinberger’s “Abendlied” (Evening Song) and Brahms’ motet “Warum ist das Licht gegeben” (Why is light given to him who is in misery).
The choral surprise of the night, however, came from the world premiere of “Valediction”, by Canadian composer Jeffrey Ryan, with text by poet and Toronto native Norma West Linder. The piece opened with the voices oscillating upwards, which then fall backwards with circular lines that emerge holding symbols of regret and hope. The piece was a near textbook example of how to set poetry to music.
The concert was recorded last night for an upcoming CD release, which will make the ensemble the only Symphony in North America to have recorded all nine Beethoven symphonies on period instruments.
Tafelmusik’s Beethoven Ninth repeats through Sunday, Feb 7. Start times vary. For tickets and details see here.
#LUDWIGVAN
Want more updates on Toronto-centric classical music news and review before anyone else finds out? Get our exclusive newsletter here and follow us on Facebook for all the latest.
- THE SCOOP | Royal Conservatory’s Dr. Peter Simon Awarded The Order Of Ontario - January 2, 2024
- THE SCOOP | Order of Canada Appointees Announced, Including Big Names From The Arts - December 29, 2023
- Ludwig Van Is Being Acquired By ZoomerMedia - June 12, 2023
