Davies Symphony Hall, San Francisco, February 26 — It is difficult to forget works by Beethoven and Haydn, and yet that is what could happen a day after experiencing Mozart’s Requiem. It is even more so when the San Francisco Symphony is conducted by Manfred Honeck who is the complete conductor. He is with the SFS, and they are with him. He gives the music a dramatic context. He is sensitive to the rhythm, makes the rhythm. His physical movement captures the truth that music is physical. The music in the first half of the evening is still very fine. I will bring on Beethoven and Haydn, but briefly.

Beethoven’s Coriolan Overture, Opus 62, was written for a play which was a flop. The Overture, written in 1807, is definitely worthy to be in Beethoven’s symphonic list. It contains the emotion and tragedy of the story of Coriolanus in Shakespeare’s play which followed Plutarch’s plot. Coriolan felt he was not receiving the significance he deserves. A Roman general, he joined the enemy. Ready to get revenge, his family convinces him not to do that. Instead, he commits suicide. The music is powerful and still sad. Coriolan’s inner turmoil demonstrates that a Roman general can be torn by his feelings. An army leader needs to act without puzzling which of his options will be best. And what is the best direction for him? The music is full of his anger and then gives his wife’s plea for peace. It is a huge struggle which will end in violence. The music is big, strong, and feels the loss.

Joseph Haydn’s Symphony No. 93 in D major, was written in 1791. When his patron, Prince Nicolaus Esterhazy, died, Haydn saw the event as an opportunity; he moved to Vienna. There he met Johann Peter Salomon. Being both an impresario and a musician, Salomon offered Haydn a fine income to write six new symphonies. Together in London, 1791-92, the symphonies were very well received. Salomon was the concertmaster and Haydn played harpsichord. It was all a success, and Haydn created six more London Symphonies. Symphony No. 93 is a delight. Haydn brings together music that could be a dance except for its twists and turns. In the second movement, Largo cantabile, was mild and presents  an oboe solo. The third movement is a Menuetto: Allegro. It is fast and has a hopping rhythm with timpani. The close is Presto ma non troppo. It is a Rondo going faster and giving more delight. A lively and fun Symphony.

Mozart died writing his Requiem. There have been attempts to finish the Requiem where Mozart left off. Honeck did not go there. Instead, Honeck added pieces by Mozart and prose that deepens the profound meaning and emotion of the funeral mass. He added Three Bell Strokes, a sign of a death; Gregorian Chants twice at the beginning; a reading from a letter from Mozart to his father; Mozart’s Masonic Funeral Music, K. 477; Laudate Dominum from Mozart’s Vesperae solennes de Confessore, K.339/5; another Gregorian Chant; Reading poems by Nelly Sachs: “Who Knows Where the Stars Stand,” “When in the Late Spring;” Introitus: Requiem; Kyrie; Reading from Book of Revelation 6:8-17; Sequenz: Dies irae; Tuba mirum; Rex tremendae; Recordare; Confutatis; Lacrimosa; Gregorian Chant; Reading from Book of Revelation 21:1-7; Offertorium: Domine Jesu; Hostias; Lacrimosa ( a fragment, reprise); Ave verum corpus, K. 618 (1791); Three Bell Strokes

The Lacrimosa fragment was Mozart’s last writing. In this last moment, Conductor Honeck stopped the music. He stepped out to his left, his arm stretched out parallel to the floor, one leg was bent at the knee stretched out in a wide step from the other leg. His back was also parallel to the stage. He drew up again and repeated the reaching step. Here are comments by Honeck which are quoted in the program book.

“These readings are placed precisely at moments in the work where words and music intertwine in meaning.”

“This fragment, consisting of only eight bars, is heard earlier in the Requiem but is repeated here, creating a sense of unfinished eternity.”

“This concept intertwines Mozart’s music, historical context, and reflections on death, offering a deeply personal yet universal experience that transcends time.”

Davies Symphony Hall, San Francisco, February 19 — The first half of the concert was Beethoven’s Symphony No. 2 in D major, Opus 36, composed 1801-02. The SF Symphony played at The Top. After intermission: Symphony No. 7 in A major, Opus 92, 1811-12. Again, the SF Symphony played magnificently. Jaap Van Zweden conducted brilliantly. The two symphonies are different in so many ways, and I wanted the SFS to play them both again. I am still excited by the music. I talked with another music lover. She told me that she knows Beethoven’s music, but had not known about #2 and #7. She brushed them off. If she did not know them, they must be just extras, not being the #5 or #9. However, these symphonies are INCREDIBLE. My suggestion is if you were not able to be in Davies to hear and see the wildly wonderful, powerful performances, look for a good recording. Allow your heart and head to live with this music. SFS has a Beethoven year planned; look at the end of this review for dates.

Beethoven had written a letter to his brothers informing them that he was losing his hearing. While he was experiencing his emotions of the loss, his Second Symphony is joyful. In the first movement, Adagio molto-Allegro con brio, he introduces music with many characters. He abruptly changes into more energy in the Allegro. His letter to his brothers lets them know that Beethoven was forming a new path for his music. This is it. He does not entirely turn his back on the tradition Haydn began, but he now has his own identity. The second movement, the Larghetto, is surprising. It is full of delights. The senses love to be in this atmosphere, and the music stirs up sweetness and sometimes a musical flirtation. There are slow, thoughtful passages, but these moments choose to dance. The third movement, Scherzo: Allegro, is part of Beethoven’s new path. Rather than using the proper Minuet, Beethoven sets a Scherzo which goes faster than a minuet. It brings more character and playfulness as he creates the amazing finale. The Allegro molto takes over. He composes a very long coda. He makes the listener notice that while Beethoven does pay respect to the traditional symphony, now he has his own way of composing. He may set a moment in a form that the audience will understand, but then he writes in his new way. When the symphony ended, I said, “This was fun.” Beautiful and fun.

Symphony No. 7 is made of rhythm rather than music making rhythm. Beethoven finds dramatic rhythms that make excitement. This runs through all the movements. It makes the listeners feel the rhythm in their blood circulating in all the movements. The names of the Symphony No. 7 are something different. Poco sostenuto – Vivace; that means a little sustained, though the music is more than a little sustained. Then, it celebrates in Vivace, lively and cheerful. Allegretto, a little fast just a little less than an Allegro. Presto: very very fast. Allegro con brio: dancing going faster with lively, happy energy. Parts of this symphony were inspired by the marching soldiers. Their triumph over dictatorship was glorious and so was the ending of the symphony. Beethoven uses repetitions of music and especially the rhythms that stamp and march throughout this amazing symphony. The Finale welcomes more and more of the thrilling victories. Beethoven uses lines of an Irish folk-song, “Save Me From the Grave and Wise.” Beethoven makes offbeats jump with the hurrahs of military, folk-dancers winning the challenge.

BEETHOVEN & SAN FRANCISCO SYMPHONY:  The SFS is offering a Beethoven year. So far, SFS conducted by John Storgard, poured their energy and profound playing Symphony #5, January 24, 2026; Yefim Bronfman performed the Appassionata, in his piano recital, Feb., 8; Van Zweden led the SFS in Symphonies #2 and #7, Feb. 19-21; Mao Fujita will play Piano Sonata No.1 in the Shenson Spotlight Series; Feb. 26-27&March 1, SFS conducted by Honeck, presents the Coriolan Overture; in June18, 20-21, SFS, Gaffigan conducts, singers, the SF Chorus, Symphony #9. BE THERE!

January 29, 2026 — Davies Symphony Hall, San Francisco, The audience heard the San Francisco Symphony demonstrate its abilities to play outstanding creations that are wildly different from each other. First was Mozart’s Piano Concerto No. 25 in C major, K. 503, 1786. Next was Symphony No.7 in E major, by Anton Bruckner, 1881-83.

Emanuel Ax, pianist

Wolfgang Amadeus Mozart was a brilliant pianist as well as a composer. Emanuel Ax was the pianist. He is superb, smart, plays with understanding as though he was playing for and with Mozart. Scott Foglesong wrote that Mozart was the first of the great composer-pianists. Mozart created an unbelievable amount of world shaking compositions in the years 1786-87. That means he wrote the operas The Marriage of Figaro and Don Giovanni; Symphony No. 38, Prague; Eine Kleine Nachtmuzik, and many quintets, sonatas, quartets and still more. Three piano concertos hover over the highest accomplishments of piano concertos. They include the Concerto No. 23 in A major, Concerto No. 24 in C minor, and this one, No. 25 in C major, perhaps the most amazing of all. The music of No. 25 is beyond the words available to describe this work. It is exquisite. The music is delicate, often shows Mozart’s humor, and seems to recognize the characterizations of the notes. Although there are unusual, disparate styles of piano, the music is never too much. He creates exactly what his concerto wants. It reminded me of my piano teacher when I was very young. He told me that the music by Bach was a conversation between the different notes. Throughout this wonderful Concerto, I heard the music make observations of itself, sometimes they were laughing. The magnificent pianist, Emanuel Ax, was absolutely right in his playing for us and for Mozart.

Emanuel Ax and Jaap van Zweden, conductor

Anton Bruckner’s Symphony No. 7 in E major is a symphony that reaches to the broadest art for the world. The music is inclusive of all. Bruckner grew up in a rural, small, Austrian place not at all close to Vienna in urban culture. His father led him to music and was educated at monastery, Sankt Florian. There he learned the organ, then played it in Linz, and learned music from Simon Sechter, a famous music theorist, through correspondence. It would be the kind of online classes one might have now. Bruckner stepped into teaching Sechter’s classes when Sechter passed away. Teaching at the Vienna Conservatory was challenging to someone from the hinter lands of Austria. And yet, he had great talent and worked on his list of enormous symphonies that won positive attention in Austria and even in the US. The 7th Symphony was produced in Chicago, in 1886. The music involves the listeners immediately. It grabs the whole of the world with passion. The music has dignity and importance. As styles changed, especially because of Beethoven’s symphonies, scherzo took over from the previous style of minuets. The scherzo in the Bruckner #7 was faster and harsher, though it becomes more lyrical. Bruckner was impressed by Wagner, but to my ears, it is Bruckner who hit the homers.

Jaap van Zweden, conductor

Jaap Van Zweden took charge of both programs despite their vast differences. He linked with the SF Symphony musicians and brought about a surprising evening of great and interesting music.

Photos by Brandon Patoc are from courtesy of the San Francisco Symphony.

The San Francisco Symphony, with John Storgårds, Conductor, perform Outi Tarkiainen’s “The Rapids of Life,” (U.S. Premiere), Shostakovich’s “Piano Concerto No. 1” with Seong-Jin Cho, Piano, and Mark Inouye, Trumpet, and Beethoven’s “Symphony No. 5.” At Davies Symphony Hall on Thursday night, January 22, 2026.

January 24, 2026 — If you do not have a ticket, get it. Tonight’s the last chance. If you think “been there, done that,” get the ticket now. Maybe there are many conductors who conduct this Symphony; maybe they have their own way to do it. Come to Davies Symphony Hall. Hear it now. Conducted by John Storgards leading the San Francisco Symphony, each piece on the program was performed marvelously. Get that ticket.

Ludwig van Beethoven, composer (1770 – 1827)

In the minutes before the Symphony No. 5 in C minor, Opus 67, began I felt jumpy, excited, anxious. When the first four notes played into my heart, I was captured by the music. What will happen? The rhythm beats the listener’s pulse. Allegro con brio, it opens each measure and finds that same music changed just a little, but it is always there. The first movement closes with the music building power and mystery. The second movement, Andante con moto,  expands lyrically. Its music has decided to take deep breaths, gather its force, and, with the brass instruments moving in, the music is less insistent. However, that opening rhythm returns. The third movement, Allegro–, brings low strings and surprising horns, still in the C minor chord. The Symphony turns on its Scherzo and reaches the fourth movement, Allegro, gliding, fighting, climbing up a rocky hill. It is a struggle; the music will slide down and crawl back up. There is grave danger to get to the top and be able to stay there. In the third movement, I felt the tears. My heart wanted the triumph. It came battling, out of breath, but the music can breathe and stand surveying where it came from and where it can live.

For another interpretation of the 5th, look at this reviewer’s writing on Michael Tilson Thomas’s presentation in June, 2015. https://www.livelyfoundation.org/wordpress/?p=786

The San Francisco Symphony, with John Storgårds, Conductor, perform Outi Tarkiainen’s “The Rapids of Life,” (U.S. Premiere), Shostakovich’s “Piano Concerto No. 1” with Seong-Jin Cho, Piano, and Mark Inouye, Trumpet, and Beethoven’s “Symphony No. 5.” At Davies Symphony Hall on Thursday night, January 22, 2026.

The US premiere by composer Outi Tarkiainen had delicacy and power. The Rapids of Life is the title of her musical expression of giving birth. Ms Tarkiainen’s has previously performed her work with the SFS. This music uses many different instruments, a few are flutes, oboes, clarinets, and other “normal” symphonic instruments plus cymbal, gong, tam-tam, egg shakers, ratchet, glockenspiel, bowed vibraphone, and more. The composer was quoted, “the rapids of life I had to shoot – as a precipice over which I was pushed; and in the process I realized how little I knew about the strength of the human body.”

The San Francisco Symphony, with John Storgårds, Conductor, perform Outi Tarkiainen’s “The Rapids of Life,” (U.S. Premiere), Shostakovich’s “Piano Concerto No. 1” with Seong-Jin Cho, Piano, and Mark Inouye, Trumpet, and Beethoven’s “Symphony No. 5.” At Davies Symphony Hall on Thursday night, January 22, 2026.

Dmitri Shostakovich, composer (1906 – 1975)

Piano Concerto No. 1 in C minor, Opus 35 is something entirely new if one mostly knows his music through his Symphonies. As a young guy he played at clubs, accompanied silent movies, and composed for revues. I have a teapot that plays “Tea For Two,” with Shostakovich playing the tune. He wanted to write a trumpet concerto but gave up the project which he said, maybe, that working with a trumpet was too hard. This concerto for piano still gives the trumpet a starring, comic role. As his own work in the symphonies is greatly inventive, in this concerto he quotes music from his own early work and Rossini’s William Tell; Al Jolson’s “California, Here I Come; an English folk song “Poor Mary;” Haydn’s Piano Sonata No.50; and Beethoven’s “Rage Over a Lost Penny;” and more. Despite the many quotations, Shostakovich uses them to fit the artful work he has done. Some of the work seems to be comic but only on a highly satirical – but not sour or critical – level. I love Shostakovich in so many ways, and this piece is totally original and interesting in hearing his universal understanding of music. One wishes Stalin could have let him alone; we would have both serious and lightly funny. This one wishes there had not been that era at all. Maybe I could find a teapot with him playing Piano Concerto No. 1.

The encore was by Bernstein’s “Rondo for Lifey.”

Photos by Stefan Cohen, by courtesy of San Francisco Symphony.

November 21, 2015 – Davies Symphony Hall, San Francisco – San Francisco Symphony members performed beautifully in an extraordinary, musical adventure. Alexi Kenney played violin and served as leader for the group. This was a Baroque presentation: all the musicians stood while playing; that is all except the harpsichordist. The music was equally very old, ca. 1664 and early 18th century; and very new. The Baroque sound is different than Classical and Romantic. We have lost touch from the 18thc. Early 18thc. humans walking around with music in their heads had delightful music to hear. Mr. Kenney played brilliantly. His great energy and devotion to the music spread to the other musicians as well as the audience.

Olli Mustonen, composer ( born 1967)

The opening piece was the only one composed in 2000. Nonetto II for Strings, by Finnish composer Olli Mustonen, has traces of Baroque music while it is still modern. It is a wonderful, appealing piece which can draw the listener’s warm attention. It was fifteen minutes long, and I would have happily let it go on. I referred to the program to be sure it has no Baroque ancestry. It is all modern with the Baroque musicians sending an occasional telegram for their part in Mustonen’s innovations.

Barbara Strozzi, composer, singer (1619 – 1677)

A very brief piece, “Che si puo fare,” Opus 8, no. 6., by Barbara Strozzi, about 5 minutes, was arranged by Alexi Kenney. Barbara Strozzi was a popular composer and singer. Anything about her that is known for sure is unusual in mid-17thc. An Italian woman in Venice, publishing her own compositions, and published eight volumes of vocal music. These songs were secular, not for the church. According to the program note, “she may have been the most published composer within her genre in Venice.” She died young, 58; it took 300 years before she was rediscovered. Its brevity made it difficult to get into it, but it has the same Baroque, tangy sound that seems so new to jaded twenty-first century listeners. A paraphrase of Ms Strozzi song:

“What can I do? The stars have no pity. If the gods won’t grant me peace, what can I do?/ What can I say? The heavens keep sending me disaster…What can I say?”  If Ms Strozzi had read Sappho, they could sing a duet.

Johann Sebastian Bach, composer (1685 -1750)

Bach wanted to move in order to get a better job. He wrote the Brandenburg concertos to tempt Margrave Christian Ludwig of Brandenburg-Schwedt to bring Bach to his employment. It did not work. Instead, Bach moved to Leipzig in 1723. Bach’s concertos disappeared until 1849. The Brandenburg Concerto No. 5 in D major, BWV 1050 was a new kind of concerto. This one has violin, flute, and harpsichord soloists. It was a careful mix of the old style of concerto grosso and the new concerto with more solos. This was a great, tuneful, rhythmic Bach. The musicians were all excellent. I wished the harpsichord could be heard better while playing with the strings. Not the harpsichordist fault; when he played solo one could hear very well. Possibly, the instrument would be better heard in a smaller venue. When I was a kid, friends wanted to play pop music in their piano classes, I wanted more Bach. Still do.

Antonio Vivaldi, composer, violinist (1678 – 1741)

The Four Seasons, Opus 8, nos. 1-4, by Antonio Vivaldi, has become favorite “classical” music. Vivaldi worked at the Ospedale della Pieta in addition to being the “master of music in Italy.” The Ospedale della Pieta was a home and music school for female orphans and illegitimate daughters of wealthy nobles. It interests me that some of the music was written by Vivaldi years before he wrote The Four Seasons. Then, he composed new additions some of which were more complex. One of his major, new approaches was to write poetry and music all together in pictures of the seasons. Spring paints a picture of buds opening, singing birds returning, sudden storms come and then bring quiet. In the middle of the 20thc., The Four Seasons began to be popular again. Perhaps now, its loveliness can come back in our not so lovely era.