Michael Repper conducting the MSO.
If there are any four notes in all the classical music canon that almost everyone recognizes – even those who wouldn’t know Mozart from Muddy Waters – it would be the bah-bah-bah-BOHM of Beethoven’s Fifth. But how many aficionados would recognize the first few bars of his “rookie” symphony No. 1 as Beethoven’s?
When it premiered in 1804, the Fifth was called the “Fate Symphony,” which accounts for the title of the November concert series of the Mid-Atlantic Symphony Orchestra, “Fireworks of Fate,” continuing through Sunday’s matinee at Chesapeake College’s Todd Performing Arts Center. The four notes, it is said, denote “fate knocking at the door.” Should you answer?
Accompanying the pair of Beethoven symphonies on the program are two appetizers by 19th-Century French composer Louise Farrenc, both concert overtures, which means these six- or seven-minute pieces were never intended as part of a larger work, such as an opera.
Her Overture No. 1 pays homage to Haydn, Beethoven’s most important mentor. The gravity of the solemn opening adagio is quickly overtaken by a restless allegro that becomes more relaxed as it grows into a bold thematic statement and an authoritative finish. Farrenc’s Overture No. 2 takes a similar form but in a different frame of mind. Possibly traumatic opening notes give way to a celebration with a richly melodic and cheerful vibrance. Together these pieces leave you wishing Farrenc had added another movement or two for each. Sadly, symphonies were not in fashion with the French in her time and, in any case, women composers anywhere in the world struggled to be recognized.
Unlike Mozart, a child prodigy, Beethoven did not complete his first symphony until 1800 at age 29. Mozart died nine years earlier at age 35 with 41 symphonies to his everlasting credit.
In keeping with symphonic tradition, set largely by Mozart and Haydn, Beethoven’s First is composed in sonata form. But he throws in a bit of a trick by toying in the opening notes with the C Major key that dominates the piece. He then throws in an innovation with woodwinds playing a prominent role intertwined with the string instruments in introducing a second theme. Taking the lead for the MSO woodwind section are Mindy Heinsohn (flute), Dana Newcomb (oboe), Dennis Strawley (clarinet) and Terry Ewell (bassoon).
The second movement opens with what amounts to a fugue that gradually morphs into a darker mood with the rhythmic throb of timpani beats by Barry Dove. While the third movement is called a minuet, it comes off as more of a scherzo teaser that suggests bolder dancefloor strides. The final movement of Beethoven’s First toys with a trio of mellower notes before it gains momentum toward a confident landing that encompasses previous themes as well as Beethoven’s soon-to-be signature orchestral beats.
If you think that Beethoven’s Fifth is the meat-and-potatoes of classical music by long-dead European composers, ho-hum, think again. It’s at the very least the steak frites or filet mignon with truffles of the classical catalog’s all-time menu. And it’s not played as often as you might think considering its thematic presence in everything from movies to video games. So here’s your chance to hear it played live in full by a fine professional regional orchestra spurred on by a Grammy-winning music director, Michael Repper.
Here’s what I thought of the opening night performance in Rehoboth Beach Friday night, Nov. 8.
The opening four notes heard round the world and through the centuries are echoed in clarion calls from the back-row brass section led by Daniel Coffman (trombone), Luis Engelke (trumpet) and Michael Hall (horn). The orchestra played with a cohesive and deliberate temperament of an ensemble performing as one, led on strings by concertmaster Kimberly McCollum, Dana Bevard (second violin), Yuri Tomenko (viola), Katie McCarthy (cello) and Chris Chlumsky (bass).
New themes are introduced in the next two movements with a more reflective cadence followed by a lighter scherzo that culminates in a fond recollection of the Fifth’s opening flourish.
The fourth and final movement tests the musicians’ stamina with extended pianissimo riffs for strings while reeds and horns herald the breathless close to the Fifth’s fabled fate as one of, if not the greatest, symphony in classical music history. GOAT they call it in ironic athletic terms. (Greatest of All Time). And there is athleticism, even while seated, to do performance honor to Beethoven’s greatest hit. The MSO is fit for the occasion.
Mid-Atlantic Symphony’s “Fireworks of Fate” Series
Premiering Nov. 8 in Rehoboth Beach with Michael Repper conducting, followed by a 3 p.m. performance on Saturday, Nov. 9 at the Ocean City Performing Arts Center. The finale is at 3 on Sunday, Nov. 10 at the Todd Performing Arts Center, Chesapeake College in Wye Mills. midatlanticsymphony.org
Steve Parks is a retired New York arts critic now living in Easton.
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