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Mariss Jansons and the Bavarian Radio Symphony Orchestra in New York (II): Ricarda Merbeth (soprano), Michelle Breedt (mezzo-soprano), Michael Schade (tenor), Michael Volle (baritone), Westmintster Symphonic Choir, Joe Miller (conductor).  Carnegie Hall, New York City, 14.3.2009 (BH)

Haydn: Symphony No. 88 in G Major (1787)

Beethoven: Symphony No. 9 in D Minor, Op. 125 (1824)

In the second of three concerts at Carnegie Hall by Mariss Jansons and the Bavarian Radio Symphony Orchestra, there was nary a contemporary work on the menu.  Haydn's Symphony No. 88 is notable for the composer's restraint, saving the trumpet and drums until the slow movement.  But even without these, the first movement showed dynamics finely honed and throaty tuttis, with the orchestra's pungent winds lending their unique color to the solos.  The probing Largo was on the majestic side, followed by a vigorously accented Menuetto, again striking contrasts between the loud and soft sections.  In the hunt-and-chase jollity of the finale, Jansons and the players were clearly enjoying themselves. 

But all this deliciousness was just an appetizer before what turned out to be one of the finest live readings of Beethoven's ubiquitous Ninth Symphony I've heard in some time.  From the beefy sound of the opening, Jansons's conception kept the freshness coming, over and over again.  I kept marveling at the balances and the caliber of the playing, with Jansons maintaining momentum, keeping his eye on the ball for maximum drama.  The scrupulously done second movement, triplets immaculately in place, showed off the group's terrific timpanist once again, rhythmically punchy but not machine-like, helped by tempi that weren't too fast to allow all strands to show themselves. 

In the third movement, somehow I thought of the old sales adage that you have ten seconds to get clients' attention and make your point, which Jansons did with exceptional naturalness.  Sinuous lines flowed seamlessly into one another, and I couldn't help but notice that at least one of the soloists was nodding blissfully in time with the music.

Some bold orchestral playing launched the argumentative fourth movement, with cellos and basses pitted against wind chorales as clearly water running over river rocks.  Of the four soloists, baritone Michael Volle made the most lasting impression, his deeply rich timbre filling the hall like an ancient storyteller.  But soprano Ricarda Merbeth, mezzo Michelle Breedt and tenor Michael Schade honorably acquitted themselves.  The orchestral details emerged, time after time.  Wind solos were audible where they often are not.  The chorus, very well rehearsed, sounded magnificently shaped—a mammoth frieze of singing against Carnegie's back wall by Mariss Jansons, sculptor. 

I have a friend who listens to this piece once a week, in a longstanding Sunday morning ritual.  This would have made him very happy.

Bruce Hodges


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