Those lucky enough to have heard the debut concerts of the CSO’s Beethoven Festival last week heard something very special indeed as the orchestra offered some of its best playing for outgoing CSO principal guest conductor Bernard Haitink of his entire tenure here. Particularly gratifying, whether by accident or design, was the noticeable absence of some of the most conspicuous principal players who have routinely blighted concerts under the Haitink era as their skills have deteriorated. Haitink uses a mid-sized orchestra and offers some surprising tempos, much more moderate than you might expect for some of the uptempo movements and brisk, indeed, sometimes almost breakneck, during moderate and slow movements.
This week Haitink and the CSO turn their attention to two groups of symphonies: Nos. 4 and 6, the “Pastoral,” and Nos. 1 and 7. Beethoven’s First Symphony has often been described as “Haydnesque,” and while it is the most conventional of his symphonies, from its opening chords we are in a different sound world than the symphonies of Haydn, or Mozart, for that matter. It is a shame that we are hearing it so late in the cycle where its full impact is diminished; it would have made far more sense to present Symphonies 1 and 3 in the first program, 2 and 5 in the second, and then 4 and 6, which are being paired together, and then 8 and 7, with the Ninth on its own, as it will be next week.
The Second and Fourth Symphonies go underappreciated because their successors are so iconic, but each stand on their own wonderfully well. And of course, Walt Disney’s “Fantasia” aside, Beethoven wrote the most significant piece of programmatic music with his Symphony No. 6 the “Pastoral” symphony, a work that attempts to give us an aural portrayal of nature as Beethoven perceived it, from a sunny day in the fields to a rain and thunderstorm vividly portrayed in the score.
The Seventh Symphony has the distinction of being the only Beethoven symphony that Bernard Haitink ever performed with the CSO before this festival, in his first concert with the orchestra back in 1976, and again early on in his tenure as principal conductor. If the pattern that Haitink has established during the festival holds true, expect a faster funeral march but a slower finale. (Dennis Polkow)
June 10, 11 (4 & 6), 8pm, June 15, 7:30pm, June 16 (1 & 7), 8pm, Orchestra Hall at Symphony Center, 220 S. Michigan, (312)294-3000.
Dennis Polkow is an award-winning veteran journalist, critic, author, broadcaster and educator. He made his stage debut at age five, was a child art prodigy and began playing keyboards in clubs at the age of fourteen. He holds degrees in music theory, composition, religious studies and philosophy from DePaul University in Chicago. Polkow spent his early years performing and recording in rock and jazz bands while concertizing as a classical pianist, organist and harpsichordist and composing, arranging and producing for other artists. As a scholar, Polkow has published and lectured extensively and taught at several colleges and universities in various departments. As an actor, narrator and consultant, Polkow has been involved with numerous films, plays, broadcasts and documentaries. As a journalist, Polkow helped co-create the experiential Chicago Musicale and Spotlight, the award-winning tabloid arts and entertainment section of the Press Publications chain of newspapers, which he later edited. He also created and ran the nationally recognized journalism program at Oakton College and was faculty advisor to its award-winning student newspaper; many former students went on to major media careers, including Channel Awesome’s the Nostalgia Critic. Polkow’s research, interviews, features, reviews and commentaries have appeared across national and international media and he has corresponded from the Middle East, Asia and Africa for the Chicago Tribune. Contact: dpolkow25@aol.com
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