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Orchestre Révolutionnaire et Romantique

Monday, February 24, 2020 8 PM Stern Auditorium / Perelman Stage
Sir John Eliot Gardiner by Sim Canetty-Clarke
Beethoven the boisterous humorist, heaven-storming revolutionary, and all-embracing humanist appear in his last two symphonies. The Eighth is a bubbly romp with a witty imitation of a metronome in its second movement and a tip of its hat to Haydn in its minuet. From its mysterious opening to its joyous choral finale, the Ninth is grander and more dramatic than anything that came before. Experience its groundbreaking power as that 1824 audience would have when the musicians of the Orchestre Révolutionnaire et Romantique perform on instruments of that time.

Part of: Sir John Eliot Gardiner Perspectives, Beethoven Celebration, and Carnegie Hall Live on WQXR

There is a limit of 8 tickets per household. Additional orders exceeding the ticket limit may be cancelled without notice. This includes orders associated with the same name, email address, billing address, credit card number and/or other information.

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Partner events on February 7 and February 27 explore the instruments featured in this concert.

Orchestre Révolutionnaire et Romantique is also performing February 19, February 20, February 21, and February 23.

Sir John Eliot Gardiner is also performing February 18, February 19, February 20, February 21, and February 23.

Lucy Crowe is also performing February 19 and May 3.

Jess Dandy is also performing May 3.

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Orchestre Révolutionnaire et Romantique
Sir John Eliot Gardiner, Artistic Director and Conductor
Lucy Crowe, Soprano
Jess Dandy, Contralto
Ed Lyon, Tenor
Matthew Rose, Bass
Monteverdi Choir



Symphony No. 8

Symphony No. 9

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.
Sir John Eliot Gardiner: 2019–2020 Perspectives Artist

This concert is made possible, in part, by an endowment fund for choral music established by S. Donald Sussman in memory of Judith Arron and Robert Shaw.

Lead support for the Beethoven Celebration is provided by The Morris and Alma Schapiro Fund.

National Endowment for the Arts: arts.gov

Public support is provided by the National Endowment for the Arts.

National Endowment for the Arts: arts.gov

Public support for Carnegie Hall Live on WQXR is provided by the National Endowment for the Arts.

In honor of the centenary of his birth, Carnegie Hall’s 2019–2020 season is dedicated to the memory of Isaac Stern in recognition of his extraordinary contributions to Carnegie Hall, arts advocacy, and the field of music.

At a Glance

Beethoven’s final two symphonies could not be more different. Steeped in 18th-century tradition, the Eighth is a work of airborne affirmation, opening and closing in bursts of exuberance, kicking out the usual slow movement, substituting a Neoclassical minuet for a scherzo, and adding a jewel-like Allegretto scherzando. Beethoven called it his “little symphony in F,” but it abounds with ideas and seems small only in comparison to the Ninth, a monumental choral-orchestral extravaganza that broke all the boundaries of harmony and classical form to create a new kind of symphony. Opening in a terrifying abyss, it builds through a scherzo of unprecedented elemental power and a variation slow movement in Beethoven’s most abstract late style toward a culminating choral finale that has become the most frequently cited affirmation of human solidarity in music. Beethoven’s large-scale fusion of vocal and symphonic writing—from the eerie tremolos in the opening to the “Ode to Joy” in the finale—profoundly influenced not only the Romantics, but Mahler and the Modernists as well.

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