March 6, 8 & 9, 2025
Atlanta Symphony Hall, Woodruff Arts Center
Atlanta, Georgia – USA
Atlanta Symphony Orchestra; Nathalie Stutzmann, conductor.
Ludwig van BEETHOVEN: Symphony No. 4 in B♭ major, Op. 60
Ludwig van BEETHOVEN: Symphony No. 7 in A major, Op. 92
Mark Gresham | 8 MAR 2025
On Thursday evening, the Atlanta Symphony Orchestra brought forth the fourth installment of its ‘Beethoven Project’ under the baton of music director Nathalie Stutzmann, with performances of his Symphony No. 4 in B♭ major, Op. 60, and Symphony No. 7 in A major, Op. 92 at Atlanta Symphony Hall in the Woodruff Arts Center.
Each of these symphonies marks distinct yet connected phases in his stylistic evolution, showcasing rhythmic vitality and structural mastery while differing in character. Symphony No. 4 bridges Beethoven’s classical roots and emerging heroic style, while the Seventh represents the peak of his middle period, blending classical form with Romantic dynamism and foreshadowing the expressive depth of his later works.
The program opened with Symphony No. 4, a work often overshadowed by its more famous immediate neighbors in Beethoven’s catalog, the heroic Third and the monumental Fifth. It is usually viewed as a lighter, more restrained work. However, its elegance belies a sophisticated structure that demands precise conducting to maintain forward momentum without overpowering its delicate textures.
That includes the work’s opening unison B♭, which was not entirely together (sustained in the winds and pizzicato in the strings, marked pianissimo). However, the orchestra quickly settled into the slow, shadowy “Adagio” introduction that gives way to a spirited “Allegro vivace,” marked by playful themes and brisk exchanges between strings and winds that demand razor-sharp ensemble precision and require the conductor to maintain a propulsive pulse.
The “Adagio” second movement unfolds as a lyrical dialogue, with a solo clarinet (Jesse McCandless) weaving through warm string textures over a gentle rhythmic pulse (bars 26-31 and 80-87) with solo flute (Christina Smith) making a briefer appearance in between (bars 64-67).
A lively scherzo follows with syncopated rhythms contrasting with a robust trio before the finale erupts in a whirlwind of perpetual motion, blending wit and vigor in a compact, joyous conclusion.
Following intermission, Symphony No. 7, one of Beethoven’s most rhythmically driven works, took the stage with its unmistakable energy.
A grand “Poco sostenuto” introduction with broad chords and dotted rhythms builds anticipation for the infectious energy of the ensuing “Vivace,” propelled by a relentless dotted-note motif. The introduction challenges the conductor to shape its broad harmonic shifts and stately dotted rhythms with a sense of inevitability, building tension toward the “Vivace,” where, like with the Fourth, the interplay of winds and strings demands razor-sharp ensemble precision, and the conductor must maintain the propulsive pulse without pushing the tempo too far.
If paced well, the “Allegretto” second movement can mesmerize with its hypnotic ostinato and haunting melodies, intensifying as winds and brass join the fray. The “Presto scherzo” whirls with rustic exuberance, its rapid tempo offset by a stately Trio, while the “Allegro con brio” finale unleashes a torrent of ecstatic rhythms and bold harmonies, culminating in a frenzied coda.
However, as a conductor, Stutzmann is not noted for a sharply-defined baton technique (of all ASO music directors to have one, that would have been Yoel Levi), steady tempo, or rock-solid ensemble. Nevertheless, this outing (as evidenced on Thursday) was her best among the four ‘Beethoven Project’ concerts so far. The Seventh Symphony, in particular, struck me as the first where she credibly grasped Beethoven’s architecture and delivered it despite some perceived ensemble issues in the performance. Other listeners may have credibly preferred the program’s first half (I spoke with one patron after the concert who was of that opinion). Still, the primary audience response leaned in favor of the Seventh. (Well, it is the louder and more energized of the two.) But that patron and I agreed on one significant thing: we both prefer the Beethoven of the late George Szell (Cleveland Orchestra) when it comes to the symphonies — a leaner, more cohesive approach.
These issues of precision conducting and cohesive ensemble will come up again, amplified, when the Missa solemnis is performed (May 8 – 11, 2025) as the penultimate performance of the ‘Beethoven Project’ (Beethoven’s Ninth Symphony is not on the docket until next season). Missa solemnis is a challenging choral-orchestral work that gave even Donald Runnicles problems at crucial moments back in January 2016 ASO performances. We’ll have to wait and see how Stuzmann fares with it in May. ■
EXTERNAL LINKS:
- Atlanta Symphony Orchestra: aso.org
Read more by Mark Gresham.
