To open its ninth season, the Capital Philharmonic of New Jersey ambitiously programmed Beethoven’s Ninth Symphony “Choral,” in an evening of music titled “Ode to Joy.” Once again the mighty CPNJ took on a massive and challenging piece of music and nailed it.
Premiering in Vienna on May 7, 1824, Beethoven’s Ninth was the first symphony to incorporate vocal soloists and a chorus, in what had been a purely instrumental genre previously. The composer also tossed aside the detached aesthetic of classical composition and wrote with emotion, opening the door to the Romantic Era.
Nearly 200 years later, the Ninth never fails to both rouse the heights and plumb the depths of feeling.
The stage of the Patriots Theater at the War Memorial in Trenton was jam-packed with additional musicians, plus the Somerset Hill Chorus (led by artistic director Stephen Sands), as well as Trenton’s LOTUS Project and the Westminster Community Chorus, led by conductor Alicia Brozovich, plus four soloists.
Happily, the auditorium was quite crowded too.
For a work that ended up in a kind of fever, the Ninth’s first movement opened softly with tremolo strings, as though the orchestra was limbering up for the more vigorous passages to come. It was actually dour at times, broken up by bits of musical brightness, coming from the woodwinds and French horns in particular. But things had just begun.
The CPNJ then launched into the second movement (Molto Vivace), a “very lively” scherzo and trio, familiar even to the casual music lover, with its iconic timpani. Building and building with sweeping melodies weaving in and out of the woodwinds, the theme was picked up by the bassoon, oboe, flute, and clarinet, then the English horn, a lively dialogue punctuated by the percussion.
The orchestra played with vigor and skill, the music pulsed and propelled forward — and then it dramatically ended.
The wistful, lyrical third movement began with the melody in the strings, slow and thoughtful, as though we were being given a chance to relax after the sonic onslaught of the molto vivace. Once again, the sweet, dark sound of the clarinet carried the strain, handing it over to the French horn.
The subdued strings allowed the winds and horns to flourish, and the quiet control of the CPNJ made the many moving musical parts gel.
On we went to the celebrated fourth movement, almost a complete work in itself, at 24 minutes.
The lyrics in the final movement were taken from Friedrich Schiller’s poem “Ode to Joy,” written in 1785, a message to all mankind, about the ideal of equality, harmony between people and nations.
We hear Schiller’s words, which translate into, “Be embraced, you millions! This kiss is for the whole world!” — embodying the idea that we can rise above banality, chaos and hate, and that joy is our birthright. Beethoven’s vigorous composition perfectly complements these lyrics.
Hints of themes from previous movements, played with gusto by the cellos and basses, evolved into the first strains of “Ode to Joy.” Finally, the human voice came in as promised, and what a voice.
Philadelphia bass soloist Mark Hightower sang the rousing “O Freunde (Oh friends),” just the beginning of the triumphant choral work, and the emotional journey the other Philadelphia and Princeton area soloists would take us on.
Margaret Bergmark-Williams’ soprano soared about the rumbling bass viols, with rich harmony and color from contralto Amber Nicole Johnson. As Stephen Ng’s brilliant tenor joined in the layers and variations on the “Joy” theme, the chorus reached a climactic chord, held at length, which touched the hearts of even the most stoic audience members (my significant other, for example).
The music transitioned into a lighthearted military march, with the piccolo and woodwinds carrying the jaunty melody.
From there the orchestra rolled into the “allegro energico,” the strings never hesitating or wavering, quite a workout. The chorus and the soloists returned full-voiced, bringing the genius of Beethoven’s Ninth to its euphoric conclusion.
The Capitol Philharmonic of New Jersey next performs Tchaikovsky’s “The Nutcracker,” with the American Repertory Ballet, Sunday, December 11, 3 p.m. at the War Memorial. www.capitalphilharmonic.org.
