Andris Nelsons and the Boston Symphony Orchestra launched their 2024 Tanglewood Season with two works from a crucial period that not only marked a transition in Beethoven’s development but a watershed moment for music.
Gil Shaham gave a lustrous performance of the Violin Concerto on his 1699 “Countess Polignac” Stradivarius. Even before his instrument’s entry, he was visibly involved, swaying and smiling as Daniel Bauch’s four timpani strokes initiated the Concerto and Nelsons and the BSO introduced the opening movement’s majestic themes. Shaham’s playing emphasized the music’s lyricism as well as showing off his virtuosity in florid passages. Nelsons was a fine partner, bringing out colors while managing balances that allowed the violin through. Shaham was brilliant in his traversals of Kreisler’s cadenzas – adapted here to add the timpani that Beethoven included in the cadenza for his Piano Concerto adaptation of the work. Shaham’s final voicing of the principal theme as the cadenza ended was particularly poignant.
The Larghetto was glorious, with solos by Thomas Martin on clarinet and Richard Ranti on bassoon introducing and complementing Shaham’s sublimely singing instrument. Another virtuosic cadenza (again with timpani) marked the transition to the Finale, in which the interplay between soloist and orchestra was delightful and humorous, and exuded joy as violin and orchestra alternated in a mad dash to the finish.
Following intermission, Nelsons began the ‘Eroica’ with slashing gestures that emphasized the music’s power, and the players responded with driving energy. The movement’s scale and intricacies were unprecedented, so it is hard to imagine what its first audiences would have made of the lengthy development section and coda, both filled with clever harmonic and melodic twists and turns.
The ‘Funeral March’ was also monumental, its persistent pace maintained steadily and with powerful emotional impact. Fine solos, and an extended fugal passage, were among the focal points. The Scherzo – the first symphony movement to be given that title – was appropriately rollicking, with the horn threesome especially resonant in the Trio. In the Finale, Beethoven reused a theme (from his Prometheus music) for a set of variations, brought stirringly to life by Nelsons and the Bostonians. Fugal passages were again highlighted, as was the march-like episode between them. The woodwinds’ lovely chorale provided a respite from the agitated music, and the Symphony ended with a dashing coda.
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