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Barenboim's Warm Farewell to Chicago

By JAMES R. OESTREICH
Published: June 19, 2006
CHICAGO, June 18 — At a guess, no one has ever accused Daniel Barenboim of false modesty. Mr. Barenboim — pianist, conductor and music director of the Chicago Symphony Orchestra since 1991 — ended his tenure in grandiose fashion last week, conducting the ninth and culminating symphonies of Mahler, Bruckner and Beethoven on consecutive evenings in Orchestra Hall.

Daniel Barenboim conducts his final concert with the Chicago Symphony at Orchestra Hall.

What's more, Mr. Barenboim opened two of the concerts conducting from the piano, in Elliott Carter's "Soundings," on Thursday, and Beethoven's Choral Fantasy, on Saturday. He went a bit easier on himself in Friday's opener, commanding a huge orchestra in Pierre Boulez's "Notations" for orchestra.

Happily, in addition to a maestro-size ego, Mr. Barenboim mostly has the goods to back it up. Though only fitfully compelling, his Ninthfest was impressive overall and drenched in a sense of occasion. In addition the repertory could hardly have been chosen better to show how Mr. Barenboim had changed the personality of the orchestra from what it had been under his legendary predecessor, Georg Solti.

It was a performance of Mahler's Ninth Symphony at Carnegie Hall in 1987 that convinced me, at least, that the vaunted power and precision of Solti's brass-heavy Chicago Symphony had devolved into caricature, with a machine-tooled sonority and a steamroller impact devoid of subtlety and vulnerability. The melting opening theme of Mahler's Ninth was utterly cold, steely and impassive that night, and the rest of the performance — much of the rest of Solti's tenure — followed suit.

Mr. Barenboim, in contrast, caught the ineffable warmth of that sighing string theme on Thursday. In a real change for this orchestra, it was the strings that impressed most in the other symphonies as well, plush and supple in the subsidiary themes of the first and third movements of Bruckner's Ninth and in Beethoven's Adagio. And quiet moments (taken to a showy extreme in the low strings' proclamation of Beethoven's great "Ode to Joy" theme) were as charged with intensity as loud ones. Not that the orchestra — especially those huffing and puffing brasses — has lost any of its power. Nor did Mr. Barenboim hesitate to draw on it where appropriate. Bruckner's trademark brass choruses were firmly voiced and admirably balanced.

The home audience might have wondered, with such a quick turnaround of programs, how much rehearsal went into them. But this is the sort of thing major orchestras do often on tour, planning a season or two in advance to make sure that the desired repertory is already well in hand.