Dudamel’s presentation of Beethoven’s iconic Symphony No. 5 is absolutely stunning in its interpretation. The first movement is dazzling, though it’s a bit fast. It could go just a bit slower in the context of the show. Beethoven’s classical use of scales, keys, and possibly modal textures is more evident in this 2015 recording because the sound is much clearer than previous recordings. The first movement is such a joyous occasion that all want to get in on the fun.
The second movement is a dazzling waltz propelled by the strings in a triplet fashion initially. It is a gorgeous representation of the human spirit. Life is ripe in the textures of this movement. The strings take this movement over and surge with the fibers of vibrant expectation. The woodwinds flash in and out to add guiding harmonic support. This then gives weigh to the third movement.
Ready for another allegro? The C Minor surge comes back and adds chromatic dissonance to an otherwise chordal and melodramatic and oddly triumphant fanfare. The texture then changes from C minor to C major, an unusual invention for the symphony going forward from Beethoven’s time. It’s a very happy change. After a brief stop back in the land of C minor, with all manner of frills and scales, it’s time for the final movement.
The last movement is so epic in its execution and writing. It opens up in C major, like the arrival of the messiah has come and we are getting ready for the crown of heaven. This shifts to G major in its development, then to A major, A minor, and even an F major tonality before its climactic ending. All the chromaticism even in the harmonies suggest that fate, as one would have it is uncertain. It is certainly a beautiful ride, from depression to brief moments of happiness and back again. But, it doesn’t end on a sad note, which is good.
