By Daniel Buckwalter
Ludwig van Beethoven was celebrated over Mother’s Day weekend at The Shedd, and while that may seem an odd pairing, microphilharmonic nailed the assignment perfectly and audiences enjoyed all of it.
The 12-piece ensemble expertly went through the hard work of navigating the intricate and delicate Beethoven symphonies No. 2 and No. 7, bringing four movements of powerful and joyous text to thrilling life on May 10 and 11.
Michael Anderson, clarinetist and microphilharmonic artistic director, said in program notes that he arranged to scale down these two particular symphony pieces for this one concert because “while composed in different periods of Beethoven’s creative life, they both are powerful and life-affirming works.”
That they are. Symphony No. 2 ranges from fierce and forceful passages to melodic, almost pastoral segments. It is a joy to listen to.
Symphony No. 7, of course, has the iconic second movement that has been praised by musicologists as one of Beethoven’s most beautiful slow movements and which begins with gentle conversation between the wind and string instruments.
There are moments in the movement that become more strident, almost militaristic, and for microphilharmonic, timpani player Mark Goodenberger played a pivotal role in keeping the audience engaged.
Overall, Symphony No. 7 is more melodic than militaristic until the fourth and final movement, a forceful whirlwind in classical music, with its dance-like rhythms and frenetic energy, all in a celebration of joy and exuberance.
Sunday’s performance by microphilharmonic of both symphonies — in front of a good-sized Mother’s Day crowd — brought the audience to its feet. Yes, it was a unique pairing, Beethoven and Mother’s Day, but it was stirring work and a wonderful way to end the ensemble’s season.
