On this, the 250th Anniversary of the birth of Ludwig van Beethoven, we revisit an epic performance of the complete Ninth Symphony featuring Hugh Wolff conducting the NEC Philharmonia with the NEC Concert Choir, Tufts University Chamber Singers, and soloists Suzanne Grogan, soprano, Jessica Harika, mezzo-soprano, David Charles Tay, tenor, and Vincent Turregano, baritone. This performance took place before a standing-room only crowd in New England Conservatory’s beautiful and historic Jordan Hall on 12 February 2014.

The conductor writes:

Ludwig van Beethoven wrote his first eight symphonies between 1800 and 1812. Another twelve years would elapse before he completed his Ninth Symphony. Though he composed few major works in this period, the distance Beethoven travelled stylistically and artistically was phenomenal. He was redefining the possible in music, stretching the art form to the breaking point. His deafness had overtaken him, so the effort required to express himself fully must have increased exponentially. If we believe the story that at the premiere of the Ninth he was still following the pages of his score after the performance ended and the audience responded with tumultuous applause, then he was surely completely deaf. If he could not hear the last few moments of this symphony while sitting on stage, he could not hear anything at all! Imagine, then, writing this symphony with such a disability. 

The scale of the work far outstrips that of its symphonic predecessors. Only the “Eroica” has a longer first movement. The scherzo is almost double the length of any other, and the expansive double variations of the third movement create the longest slow movement. Though great in scope, these three movements fit in the tradition of previous symphonies. But with the great Finale Beethoven leaves all convention behind. Beginning with what the Germans call the Schreckens-fanfare (a “terrifying call”), the peaceful mood of the preceding slow movement is shattered. Then, in music that must have been all but incomprehensible in 1824, the cellos and basses (“in the character of a recitative, but in tempo”) summarily reject the music of the preceding three movements. This act of violent self-editing throws the symphony into chaos. After all, not a word has been sung yet; there is no explanation for what is happening. Only in retrospect will it become clear. The recitative over, the cellos and basses begin the simplest of melodies, in quiet unison. The music that will express universal joy and brotherhood starts as if a vague dream. This most famous of all Beethoven melodies is then treated to variations of greater complexity and expressiveness until the full orchestra bursts forth, only for the Schreckens-fanfare rudely to interrupt once more. The baritone soloist now rises to sing Beethoven’s own text: ”O Freunde, nicht diese Töne! Sondern laßt uns angenehmere anstimmen und freudenvollere!” (O friends, not these sounds! Instead, let’s play something more pleasing and joyful!). “These sounds” are the music from the first three movements. The self-rejection now has a
reason, and with Friedrich Schiller’s poem as his guide, Beethoven takes us
on a great journey of hope for mankind. The moments of deepest
expression and intensity are reserved for the text, “Ahnest du den Schöpfer,
Welt? Such’ ihn überm Sternenzelt! Über Sternen muß er wohnen.” (Do you
sense the creator, world? Seek him above in the starry sky, above the stars
he must live!) It is both an ecstatic description of the divine and a plea that
it be true. Beethoven, burned by Napoleon, frustrated in his dream for
personal liberty in a republic, always having to prove himself and his worth
to an often uncomprehending public, yearned so deeply for real progress
for humanity. We still yearn for it today and may yearn for centuries to
come, but we will always have this music as a supreme example of the
beauty one human can create. 
– Hugh Wolff, February 2014

Beethoven: Symphony no 9 in D minor, Op. 125 “Choral”

Werke der klassischen Epoche und romantische Orchesterstücke.

Klassisch

danke

Clásicos de Clásicos

Schubert: The Symphonies

Symphony No. 1 in D Major D. 82: III. Menuetto (Allegro - Trio)

Symphony No. 1 in D Major D. 82: II. Andante

Symphony No. 1 in D Major D. 82: I. Adagio - Allegro vivace

Symphony No. 1 in D Major D. 82: IV. Allegro vivace

Khachaturian: Masquerade Suite

Khachaturian: Masquerade Suite I. Waltz

Hugh Wolff leads the New England Conservatory Philharmonia and Concert Choir and the Tufts Chamber Singers in a performance of Beethoven's Symphony no 9 in D minor "Ode to Joy". Recorded live in Jordan Hall, Boston February 12, 2014/ 

Beethoven Ninth Symphony: iv. Presto – Allegro assai

Hugh Wolff leads the New England Conservatory Philharmonia and Concert Choir and the Tufts Chamber Singers in a performance of Beethoven's Symphony no 9 in D minor "Ode to Joy." Recorded live in Jordan Hall, Boston February 12, 2014

Beethoven Ninth Symphony: i. Allegro ma non troppo, un poco maestoso

Beethoven Ninth Symphony: ii. Scherzo: Molto vivace – Presto

Beethoven Ninth Symphony: iii. Adagio molto e cantabile

Giuseppe Tartini Sonata in G minor "Devil's Trill" IV. Allegro assai - Cadenza

"Winter" is peppered with silvery pizzicato notes from the high strings, calling to mind icy rain

Antonio Vivaldi - Four Seasons - Winter - Allegro non molto

Tartini Devil's Trill Sonata - Ray Chen and Amsterdam Sinfonietta

Gioachino Rossini: Overtures

Rossini: La Scala Di Seta - Overture

New England Conservatory educates and trains musicians of all ages from around the world, drawing on the talent and deep reservoir of experience of our distinguished faculty. We are dedicated to inculcating the highest standards of excellence and nurturing individual artistic sensibility and creative growth. Understanding that music is one of the transcendent expressions of human civilization, NEC aspires to ensure it a central place in contemporary society. Additionally, we present over 1,000 free concerts a year in our world class performance spaces which include historic Jordan Hall.

Beethoven Ninth Symphony: i. Allegro ma non troppo, un poco maestoso

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