The second was Beethoven’s Ninth Symphony (technically Symphony Number Nine in D Major, Opus 125, ‘Choral’), with Lisa Graf, soprano, Alison Tupay, mezzo soprano, Brandon McReynolds, tenor, and Sidney Outlaw, baritone, along with the Rachmaninov Festival Chorus, Anthony Antonlini, director, and the Bowdoin Festival Orchestra, with Lewis Kaplan conducting. 

We saw the concert in dress rehearsal on July 3, so occasionally play would stop while the orchestra reviewed a portion of the piece.  That was known in advance.  The full orchestra, along with the winds, brass, and percussion section, and the full chorus, seemed very crowded on the Crooker Theater stage, and perhaps any future works of this scope should find a larger stage venue if possible.

Gardon’s Sonata was flowing and lovely.  The piece itself, like Beethoven himself, deviated from the traditional.  This sonata (composed in 1820), like the other two late piano sonatas (110 and 111), shows characteristics of Beethoven's last creative phase, including rich harmonic structures, a fascination with intricate counterpoint, and strict adherence to baroque forms.
The second movement, marked Prestissimo, follows directly after the opening movement. Before the final chord of the opening movement has fully faded away, the second movement comes crashing in on the parallel minor. This movement, though not fugal in nature, comprises the counterpoint that is characteristic of Beethoven's late works.

The Andante, in the third movement, is extremely expressive. It is basically a theme and variation (with six variations on the theme!) in Baroque form, with the basic tempo remaining constant throughout the movement and increasing the speed (and virtuosity) by subdividing the measures further and further, adding more and more notes into the same amount of time.  It was certainly a tricky work to play, and even a well-known master like Gardon had a little trouble in the right hand part toward the end.
For so early in the festival, the Ninth Symphony was also an ambitious work.  It was an unusual interpretation of the piece, with an extreme tamping-down of the upper strings throughout, strongly highlighting the cellos and basses as well as the woodwinds and horns. 

The chorale, which is based on Schiller’s poem  ‘An die Freude’ (Ode to Joy), is possibly one of the best known pieces of music in the western world.  It is the first example of a major composer using the human voice on the same level with instruments in a symphony, creating a work of a grand scope that set the tone for the Romantic symphonic form.

Lasting more than an hour, the Ninth was an exceptionally long symphony for its time. Like much of Beethoven's later music, his Ninth Symphony is demanding for all the performers, including the choir and soloists.

In this case, the soloists had difficulty making themselves heard above the huge festival orchestra, but all performed admirably.  Sidney Outlaw, baritone, and Brandon McReynolds, tenor, were especially strong.  The chorus seemed to have a bit of trouble staying with the orchestra from time to time during the finale, which is marked Presto (and is), dancing at break-neck speed toward its glorious conclusion.

Lewis’ interpretation of the Ninth was unusual enough to hold the interest of veteran concert-casters, who have heard numerous conductors and symphonies perform it over the years.  While ambitious for a young orchestra, it certainly had many charms and if there were little bumps along the way, they can certainly be forgiven.