Davies Symphony Hall, San Francisco, March 28, 2026  –  The composers, conductors, and soloists were French. The program of Claude Debussy, Camille Saint-Saens, Hector Berlioz was thrilling. The conductor, Philippe Jordan, has served as music director of the Vienna State Opera, music director of Opera National de Paris, chief conductor of Vienna Symphony and principal guest conductor at the Berlin State Opera. In 2027-2028, he will become the music director of Orchestre National de France. The titles could not be more impressive, and seeing and hearing him conduct the San Francisco Symphony, he was truly a great conductor. Some performances will be called “unforgettable.” I do not want to forget anything about this concert.

I hope to remember Jean-Yves Thibaudet playing Camille Saint-Saens’ Piano Concerto No. 5 in F major, Opus 103, Egyptian. I can see and hear the fantastic pianist. His is a physical performance. The piano itself in the Allegro animato seems to be traveling from an uplifting tune that morphs into a slow theme in minor. It resolves into a quiet, lovely coda as though the music awakens in a garden with soft colors. The second movement is an Andante that is not anything like a walk. Thibaudet performs with power in his hands, actually in his fingers. He stabs at the keys so fast, it is a wonder. Saint-Saens arranges the music so that his hands seem to have completely different roles. The left is assigned to the melody while the right plays accompaniment. The finale, Allegro molto, contains crazed dances, themes that will knock out anyone or anything, human or instrumental. This Allegro molto sails away propelled by the speed and willingness to leave gravity.

Symphonie fantastique, Opus 14, by Hector Berlioz, has imaginative experiences in the music and some of the story line is real.  In 1827, Berlioz met an Irish actress performing Shakespeare, in English, in Paris. She had leading roles; Berlioz was beyond obsessed with Harriet Smithson. They married. After a while, they separated. He wrote the Symphonie fantastique and premiered it in 1830. Franz Liszt was in the audience and wrote the piano transcription. The Symphonie was created using the background of his failure in love. His artistic ideal of love was obviously based on Harriet Smithson. and the whole story ends with the artist in hell. The first movements, Reveries, Passions, and then A Ball, could stand on their own without knowing the story. However, there is a theme that represents his love. A Ball, second movement, has harp music and a classical style shows that he admires Mozart, not copying, but does lean to the classical in this Romantic era. Things change in the third movement. It is a long movement, Scene in the Fields, that fulfills the reach to the pastoral thoughts at the same time the artist becomes anxious. He is now descending to hell. The fourth movement is “March to the Scaffold.” The public is excited by the idea of seeing blood. The last movement, “Dream of a Witches‘ Sabbath.” The instruments make mocking sounds, music that would be for the witches’ orgy. Music from the Catholic Requiem is partly about the Last Judgment of the artist. There are graveyard bells, the sounds of the wooden bows mixed with the tuba. It is terrifying and nasty in its warning music and its celebrating the witches’ dance while the artist suffers. I had heard this played once quite a long time ago (not the first time it was played in 1920) and did not like it much. This performance was over the top fantastique in expression as well as the brilliant work of the SF Symphony and conductor Philippe Jordan.

Davies Symphony Hall, March 22, San Francisco Symphony – Andres Orozco-Estrada conducted a terrific program, and a lot of the audience wanted Orozco-Estrada to stay. His conducting seemed to please the orchestra and the audience. Orozco-Estrada is excellent on the podium, and, when speaking to the audience, he was personable and even fun.

The program opened with Carl Maria Von Weber’s Overture to Euryanthe, Opus 81 (1823). Von Weber succeeded in his early career as he conducted around significant venues. He was the director in Breslau; he led the German Opera Company, in Prague; in Dresden he led the German Opera Theater. The list runs from 1804-1821. He was wanted to lead many theaters and operas. His operas lasted. Euryanthe was not a great theatrical success, but the music was very good. He chose a librettist who warned Von Weber that she was not a librettist, but he signed her on anyway. The Overture is interesting and enjoyable; it is truly fine music which is still performed. According to  James M. Keller’s program note, Act One’s has “a ghost is represented by eight muted solo violins playing in highly chromatic counterpoint.”

Mozart’s Piano Concerto No. 9 in E=flat major, K.271 (1777) The remarkable pianist Jan Lisiecki played with brilliance and sensitivity. He is close to Mozart’s music as though Jan and Wolfgang had practiced together, discussed how each one wanted a particular measure would be played by each of them. This Concerto opened the door for orchestra and soloist both playing, knowing that each one, soloist and orchestra, will come through the door. It is complex but is still music. The beginning Allegro knows that the listeners expect soloist and the orchestra together could muddle the notes if both were playing. No, they each have their own language as though in a conversation.  The Andantino travels slowly as Mozart allows an emotional, minor key, to change the weather. True sadness in the music holds back and then releases the feeling of loss. The finale rebuilds the energy. He adds a minuet and a more exciting rondo. After the sadness of the Andantino, the music now has more to express by the lovely variations. Lisiecki played magnificently.

Dvorak’s 7th Symphony in D minor, Opus 70, is definitely something different. If part of the audience for Dvorak’s work is based on the most performed, it is Dvorak’s Symphony #9 in E minor, Opus 95. “From the New World” or the “New World Symphony” wonderful though it is, they are missing so much. Dvorak composed the 7th Symphony through 1884-1885. He conducted its premier in April, 1885, in London. The English had taken to Dvorak. His Stabat Mater made him a star. He was invited to perform more of his repertoire in 1884; his 6th Symphony swept musical London off their feet. That success produced a commission for another symphony. Dvorak worked steadily to make his new direction take over. Dvorak was a devoted Christian. He did not want to take any time away from the inspiration he received. This symphony is powerful and full of emotion, perhaps anger. There seems to be no hope for the future though he searches for at least one space of peace. The first movement is an Allegro maestoso. It has mixed characteristics. The Allegro keeps a lively timing, and it is the Majesty. The maestoso‘s majesty, I am sure it comes from the heavens for this symphony. The Adagio does not wake up the happiest tunes. It seems to look inward as the spirit of the movement tries to break away. Suddenly, there is a Scherzo. We can hear the folk music and rhythm, but it still does not take over. The Finale: Allegro, brings a slightly more optimistic mood. This is a bit more major key, and yet we are still aware of possible threats. The performance of this symphony was Maestoso. SFS and Andres Orozoco took our breath away.

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.