Beethoven's Ninth Symphony

CONCERT REVIEW

London Philharmonic Orchestra

Beethoven’s Ninth

at Royal Festival Hall, London

“Tan Dun is not afraid of pauses, recognising how silence can be just as important”

It’s staggering to realise that worlds collide in mysterious ways… Beethoven grew up in times we now term the Enlightenment. The world was changing, with revolutions in France and America. At home, he experienced first-hand when Napoleon's troops invaded Vienna in 1805 and 1809.

His first large-scale composition was at the age of 19. His Ninth Symphony was created in 1824, three years before he died. And it’s the fourth movement that stands out - famous now because since composition it has been used in so many different contexts. This is his Choral piece Ode To Joy - you will know it. Search the internet and nod in recognition. The Ode is actually a lengthy poem by Friedrich Schiller, who had long wanted it set to music.

Ludwig van Beethoven

The London Philharmonic Orchestra, numbering over 100 musicians on this evening, performed the Ninth Symphony with grace, pomp and power. Accompanied by the London Philharmonic Choir and the London Chinese Philharmonic Choir, they played under the precise baton of Tan Dun.

Tan Dun is not afraid of pauses, recognising how silence can be just as important. Before each piece, he freezes, holding everyone’s attention, as though ready to go into battle, composing himself. During the movements he singles out soloists, urging them to excel - and they do. He conducts as though it is a martial art, creating shapes with his arms and hands like no other conductor.

Tan Dun ⓒ LPO

The Ode To Joy was sung, not just with the thrilling choirs, but four soloists - underused in the piece really, but exciting to hear: soprano Elizabeth Watts, mezzo-soprano Hongni Wu, tenor John Findon and bass Matthew Rose.

Sadly, the interval talk amongst the audience was about the opening of the evening’s music - Tan Dun conducting his own contemporary composition, the Choral Concerto Nine. This was inspired by Beethoven's Ninth. Hmmm. Although an Oscar-winner for his soundtrack to the stunning film Crouching Tiger, Hidden Dragon, the ever-youthful Tan Dun left us a little nonplussed with his piece in three movements. Modern music is always hit-and-miss with traditionalists. The first movement Nine was almost anti-musical, with the chorus not just using words, but gibberish. The same could be said for the musicians, not just playing their instruments but tapping and scraping them… The second movement, Wine, had more gibberish and randomness. It was only the third movement, Time, that sounded more like ‘music’ - a Hans Zimmer-like sound - reaching to a climax that gave us all some relief that it was over. But, one has to appreciate that all music begins somewhere and, who knows, this could become as much a classic as Beethoven’s Ninth. It could, but, to be honest, I don’t think it will!

The London Philharmonic Orchestra has a vast range of events at various venues around the country. Check out their website for details - https://lpo.org.uk/whats-on/ .

Principal Conductor Edward Gardner

Artistic Director Elena Dubinets

Dates until Saturday 25th April 2026

Check with the LPO website for details

https://lpo.org.uk/whats-on/

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