Davies Symphony Hall, San Francisco, February 19 — The first half of the concert was Beethoven’s Symphony No. 2 in D major, Opus 36, composed 1801-02. The SF Symphony played at The Top. After intermission: Symphony No. 7 in A major, Opus 92, 1811-12. Again, the SF Symphony played magnificently. Jaap Van Zweden conducted brilliantly. The two symphonies are different in so many ways, and I wanted the SFS to play them both again. I am still excited by the music. I talked with another music lover. She told me that she knows Beethoven’s music, but had not known about #2 and #7. She brushed them off. If she did not know them, they must be just extras, not being the #5 or #9. However, these symphonies are INCREDIBLE. My suggestion is if you were not able to be in Davies to hear and see the wildly wonderful, powerful performances, look for a good recording. Allow your heart and head to live with this music. SFS has a Beethoven year planned; look at the end of this review for dates.

Beethoven had written a letter to his brothers informing them that he was losing his hearing. While he was experiencing his emotions of the loss, his Second Symphony is joyful. In the first movement, Adagio molto-Allegro con brio, he introduces music with many characters. He abruptly changes into more energy in the Allegro. His letter to his brothers lets them know that Beethoven was forming a new path for his music. This is it. He does not entirely turn his back on the tradition Haydn began, but he now has his own identity. The second movement, the Larghetto, is surprising. It is full of delights. The senses love to be in this atmosphere, and the music stirs up sweetness and sometimes a musical flirtation. There are slow, thoughtful passages, but these moments choose to dance. The third movement, Scherzo: Allegro, is part of Beethoven’s new path. Rather than using the proper Minuet, Beethoven sets a Scherzo which goes faster than a minuet. It brings more character and playfulness as he creates the amazing finale. The Allegro molto takes over. He composes a very long coda. He makes the listener notice that while Beethoven does pay respect to the traditional symphony, now he has his own way of composing. He may set a moment in a form that the audience will understand, but then he writes in his new way. When the symphony ended, I said, “This was fun.” Beautiful and fun.

Symphony No. 7 is made of rhythm rather than music making rhythm. Beethoven finds dramatic rhythms that make excitement. This runs through all the movements. It makes the listeners feel the rhythm in their blood circulating in all the movements. The names of the Symphony No. 7 are something different. Poco sostenuto – Vivace; that means a little sustained, though the music is more than a little sustained. Then, it celebrates in Vivace, lively and cheerful. Allegretto, a little fast just a little less than an Allegro. Presto: very very fast. Allegro con brio: dancing going faster with lively, happy energy. Parts of this symphony were inspired by the marching soldiers. Their triumph over dictatorship was glorious and so was the ending of the symphony. Beethoven uses repetitions of music and especially the rhythms that stamp and march throughout this amazing symphony. The Finale welcomes more and more of the thrilling victories. Beethoven uses lines of an Irish folk-song, “Save Me From the Grave and Wise.” Beethoven makes offbeats jump with the hurrahs of military, folk-dancers winning the challenge.

BEETHOVEN & SAN FRANCISCO SYMPHONY:  The SFS is offering a Beethoven year. So far, SFS conducted by John Storgard, poured their energy and profound playing Symphony #5, January 24, 2026; Yefim Bronfman performed the Appassionata, in his piano recital, Feb., 8; Van Zweden led the SFS in Symphonies #2 and #7, Feb. 19-21; Mao Fujita will play Piano Sonata No.1 in the Shenson Spotlight Series; Feb. 26-27&March 1, SFS conducted by Honeck, presents the Coriolan Overture; in June18, 20-21, SFS, Gaffigan conducts, singers, the SF Chorus, Symphony #9. BE THERE!

January 29, 2026 — Davies Symphony Hall, San Francisco, The audience heard the San Francisco Symphony demonstrate its abilities to play outstanding creations that are wildly different from each other. First was Mozart’s Piano Concerto No. 25 in C major, K. 503, 1786. Next was Symphony No.7 in E major, by Anton Bruckner, 1881-83.

Emanuel Ax, pianist

Wolfgang Amadeus Mozart was a brilliant pianist as well as a composer. Emanuel Ax was the pianist. He is superb, smart, plays with understanding as though he was playing for and with Mozart. Scott Foglesong wrote that Mozart was the first of the great composer-pianists. Mozart created an unbelievable amount of world shaking compositions in the years 1786-87. That means he wrote the operas The Marriage of Figaro and Don Giovanni; Symphony No. 38, Prague; Eine Kleine Nachtmuzik, and many quintets, sonatas, quartets and still more. Three piano concertos hover over the highest accomplishments of piano concertos. They include the Concerto No. 23 in A major, Concerto No. 24 in C minor, and this one, No. 25 in C major, perhaps the most amazing of all. The music of No. 25 is beyond the words available to describe this work. It is exquisite. The music is delicate, often shows Mozart’s humor, and seems to recognize the characterizations of the notes. Although there are unusual, disparate styles of piano, the music is never too much. He creates exactly what his concerto wants. It reminded me of my piano teacher when I was very young. He told me that the music by Bach was a conversation between the different notes. Throughout this wonderful Concerto, I heard the music make observations of itself, sometimes they were laughing. The magnificent pianist, Emanuel Ax, was absolutely right in his playing for us and for Mozart.

Emanuel Ax and Jaap van Zweden, conductor

Anton Bruckner’s Symphony No. 7 in E major is a symphony that reaches to the broadest art for the world. The music is inclusive of all. Bruckner grew up in a rural, small, Austrian place not at all close to Vienna in urban culture. His father led him to music and was educated at monastery, Sankt Florian. There he learned the organ, then played it in Linz, and learned music from Simon Sechter, a famous music theorist, through correspondence. It would be the kind of online classes one might have now. Bruckner stepped into teaching Sechter’s classes when Sechter passed away. Teaching at the Vienna Conservatory was challenging to someone from the hinter lands of Austria. And yet, he had great talent and worked on his list of enormous symphonies that won positive attention in Austria and even in the US. The 7th Symphony was produced in Chicago, in 1886. The music involves the listeners immediately. It grabs the whole of the world with passion. The music has dignity and importance. As styles changed, especially because of Beethoven’s symphonies, scherzo took over from the previous style of minuets. The scherzo in the Bruckner #7 was faster and harsher, though it becomes more lyrical. Bruckner was impressed by Wagner, but to my ears, it is Bruckner who hit the homers.

Jaap van Zweden, conductor

Jaap Van Zweden took charge of both programs despite their vast differences. He linked with the SF Symphony musicians and brought about a surprising evening of great and interesting music.

Photos by Brandon Patoc are from courtesy of the San Francisco Symphony.