L. V. BEETHOVEN: SYMPHONY NO. 9 IN D-MINOR, OP. 125 -
A. SCHÖNBERG: A SURVIVOR FROM WARSAW, OP.46
Le Concert Olympique / Arnold Schoenberg Choir / Genia Kühmeier, Soprano / Elisabeth Kulman, Mezzosoprano / Steve Davislim, Tenor / Hanno Müller-Brachmann, Bass / Jan Caeyers, Conductor
L. v. Beethoven: Symphony No. 9 in D-Minor, op. 125, movements I-III
A. Schönberg: A survivor from Warsaw, op. 46
L. v. Beethoven: Symphony No. 9 in D-Minor, op. 125, movement IV
Available period: 4-14 April 2019
The Ninth is the best known and the least understood Symphony by Beethoven (due in no small measure to the popularity of the choral finale!). However, the Ninth Symphony is extremely poignant, by virtue of its instrumentation, the treatment of voices and instruments, the formal concept and its extreme expressivity through which it sets itself apart from all previous orchestral works.
Especially its dramaturgy – with the skillfully constructed climax in the first three movements, which culminates in the impressive finale with the use of the added vocal resources – accounts for the symphony’s monumental dimension. Its strength goes hand in hand with the hidden danger of a premature and uncontrolled interpretative gesture. It is for this reason that Jan Caeyers and Le Concert Olympique have opted for a simple, transparent and almost classicist interpretation of the score with a relatively small ensemble. The decision to work with a large chamber choir – the Arnold Schoenberg Choir from Vienna – underlines this concept.
The Ninth Symphony will be complemented (before the finale) by Schoenberg’s A Survivor from Warsaw, often perceived as one of the composer’s most expressive works due to both the music and the harrowing realism of the text. It will add another dimension to the Ninth Symphony’s political and ideological significance in this production: Because of this combination, Beethoven’s Ninth becomes a hopeful comment on Schoenberg’s masterpiece. more...