Reading about The New York Philharmonic’s Modern Beethoven festival happening at Lincoln Center’s Avery Fisher Hall did not have as positive a spin as I thought it would.  The author, Allan Kozinn from the New York Times, tells us that the festival, conducted by David Zinman, was comprised of two symphonies from Beethoven plus a 20^th-century concerto.  Those putting together the program for this performance chose Beethoven’s “Eroica” Symphony along with his Symphony No. 1 and as for the 20^th-century concerto, Karl Amadeus Hartman’s “Concerto Funebre.”

While both were German composers, they lived through different times and this is displayed in their compositions.  What is similar in their pieces, however, is that they chose to make a political and social statement through their music.  In the case of Beethoven’s “Eroica” Symphony, he originally dedicates the piece to Napoleon because of his belief and actions in fighting for the people.  When this changes, Beethoven does not sit back and leave the title as-is, but rather publicly displays his opposition to Napoleon’s self-crowned role of Emperor by renaming the Symphony in honor of the heroes or “Eroica.”

Many years later, Hartmann, who was living during the time of World War II in Germany, “had no illusions about Hitler.”  Hartmann continued composing but never performed his pieces publicly which I assume was an act of protecting himself, not wanting to bring on any unwanted attention.  Kozinn writes that the ‘“Concerto Funebre’ laments the Nazis’ rise and identifies with their victims by subtly quoting from Czech hymns, Russian workers’ songs and Jewish prayer melodies.”  While I certainly know nothing about Czech hymns or Russian workers’ songs (and only a little about Jewish prayer melodies as I am not the most practicing of Jews), I can hear that Hartmann’s concerto is far from cheery.

I listened to its third movement which is played allegro di molto and consists of string instruments only and it begins with a march-like rhythm that is suspenseful.  There is also a motive that I soon heard reappearing in the piece.  In the middle of the concerto, there are violins that are so high they sound like shrieks while lower string instruments balance the higher pitches as if the two pitches are acting as characters – the victim and the culprit.  Leading up to the middle, I visualized it being the theme music for a fight in a film, maybe fencing even, a back-and-forth motion.  After quite a long pause after the fight and suspense subsides, the melody starts back up again but very slowly at first, as if someone who the audience thought was down for good rises to their feet again.

This uncertainty in the music continues throughout the piece and I can’t say that I really felt resolution when it finally concludes.  The lower strings conclude and only a couple of them are playing at the end and in one way it sounds soothing but on the other hand, it is more so that the listener is left wondering what the next event will be.  Overall I found this piece dark and twisty but I still found the piece beautiful which made me want to hear it again and again.

For your reference, here is Kozinn’s article: http://www.nytimes.com/2012/03/17/arts/music/the-modern-beethoven-ends-at-avery-fisher-hall.html?_r=1&ref=allankozinn