“Make it this small”: Andris Nelsons conducts the Boston Symphony Orchestra in Beethoven’s First Symphony, Jan. 9 in Symphony Hall. Robert Torres photograph
The Beethoven symphonies create narratives for anyone to imagine, and hearing Andris Nelsons and the Boston Symphony Orchestra’s precise and joyous performance of the first three symphonies Jan. 9—launching a monthlong survey of the Nine—reminded of other great storytellers.
The Three seem to me the same tale, uniquely retold. The First might be Chaucer, the Second Updike and then Borges, Eroica. The same story, just different styles. Strictly personal voices.
The best impression any teacher made on me occurred when they simply performed. When they read Shakespeare. Sat at the piano and played a sonata, no explanation. That was always good enough for me (to be taught something, at least). Given that, close readings—that personalized performance, after deep investment—can amaze me still.
The opening program was Andris Nelsons’s close reading. Deeply informed of the scores, with recent enough recording experience (DG with Vienna Phil, 2020) to boot, Nelsons was also at his boyish best. Balance was key. Every section and lots of solo entrances got love.
At one point in the Second, a short phrase repeats four or five times in the winds, diminishing each repeat. As the phrase vanished, Nelsons gave up conducting, stood up straight, turned away and listened out over the audience, as if trying to catch the phrase in the distant woods. It was a magical bit of attention to the composer.
I’m expecting more of the same from upcoming programs (4/5 this weekend, then 6/7 and 8/9). Opening night was sold (not always a given nowadays), and the mood seemed lively. The orchestra played enthusiastically—replenished after intermission (for Eroica), mainly by principals. It was a long program, but I hope others left that performance like me—with expectations for a supercharged music experience, fulfilled.
Jan Swafford’s concise program notes are a masterpiece of restraint. More bad stuff has been written about Beethoven’s music than any other composer’s, and I’m certainly guilty. To have a three-paragraph intro that gets you right into the moment—nice. Swafford talks about Beethoven’s “synoptic approach” to the symphonies, meaning that Beethoven conceived them with a group identity. A compelling idea—cheers and thanks.
At Pickman Hall tonight, a continuation of the unofficial Beethoven month, thanks this time to Celebrity Series. Yuliana Avdeeva plays Hammerklavier (and lots of Liszt). Maxim Abrossimow photograph
Tonight: pianist Yuliana Avdeeva at Longy. Chopin Competition winner plays wide program, including Hammerklavier. Seeing program 2 of the cycle—Symphonies 4 and 5—at the BSO Friday afternoon, and the Boston Camerata’s Daniel at Trinity Sunday afternoon.