Davies Symphony Hall, San Francisco, March 28, 2026  –  The composers, conductors, and soloists were French. The program of Claude Debussy, Camille Saint-Saens, Hector Berlioz was thrilling. The conductor, Philippe Jordan, has served as music director of the Vienna State Opera, music director of Opera National de Paris, chief conductor of Vienna Symphony and principal guest conductor at the Berlin State Opera. In 2027-2028, he will become the music director of Orchestre National de France. The titles could not be more impressive, and seeing and hearing him conduct the San Francisco Symphony, he was truly a great conductor. Some performances will be called “unforgettable.” I do not want to forget anything about this concert.

I hope to remember Jean-Yves Thibaudet playing Camille Saint-Saens’ Piano Concerto No. 5 in F major, Opus 103, Egyptian. I can see and hear the fantastic pianist. His is a physical performance. The piano itself in the Allegro animato seems to be traveling from an uplifting tune that morphs into a slow theme in minor. It resolves into a quiet, lovely coda as though the music awakens in a garden with soft colors. The second movement is an Andante that is not anything like a walk. Thibaudet performs with power in his hands, actually in his fingers. He stabs at the keys so fast, it is a wonder. Saint-Saens arranges the music so that his hands seem to have completely different roles. The left is assigned to the melody while the right plays accompaniment. The finale, Allegro molto, contains crazed dances, themes that will knock out anyone or anything, human or instrumental. This Allegro molto sails away propelled by the speed and willingness to leave gravity.

Symphonie fantastique, Opus 14, by Hector Berlioz, has imaginative experiences in the music and some of the story line is real.  In 1827, Berlioz met an Irish actress performing Shakespeare, in English, in Paris. She had leading roles; Berlioz was beyond obsessed with Harriet Smithson. They married. After a while, they separated. He wrote the Symphonie fantastique and premiered it in 1830. Franz Liszt was in the audience and wrote the piano transcription. The Symphonie was created using the background of his failure in love. His artistic ideal of love was obviously based on Harriet Smithson. and the whole story ends with the artist in hell. The first movements, Reveries, Passions, and then A Ball, could stand on their own without knowing the story. However, there is a theme that represents his love. A Ball, second movement, has harp music and a classical style shows that he admires Mozart, not copying, but does lean to the classical in this Romantic era. Things change in the third movement. It is a long movement, Scene in the Fields, that fulfills the reach to the pastoral thoughts at the same time the artist becomes anxious. He is now descending to hell. The fourth movement is “March to the Scaffold.” The public is excited by the idea of seeing blood. The last movement, “Dream of a Witches‘ Sabbath.” The instruments make mocking sounds, music that would be for the witches’ orgy. Music from the Catholic Requiem is partly about the Last Judgment of the artist. There are graveyard bells, the sounds of the wooden bows mixed with the tuba. It is terrifying and nasty in its warning music and its celebrating the witches’ dance while the artist suffers. I had heard this played once quite a long time ago (not the first time it was played in 1920) and did not like it much. This performance was over the top fantastique in expression as well as the brilliant work of the SF Symphony and conductor Philippe Jordan.

Davies Symphony Hall, March 22, San Francisco Symphony – Andres Orozco-Estrada conducted a terrific program, and a lot of the audience wanted Orozco-Estrada to stay. His conducting seemed to please the orchestra and the audience. Orozco-Estrada is excellent on the podium, and, when speaking to the audience, he was personable and even fun.

The program opened with Carl Maria Von Weber’s Overture to Euryanthe, Opus 81 (1823). Von Weber succeeded in his early career as he conducted around significant venues. He was the director in Breslau; he led the German Opera Company, in Prague; in Dresden he led the German Opera Theater. The list runs from 1804-1821. He was wanted to lead many theaters and operas. His operas lasted. Euryanthe was not a great theatrical success, but the music was very good. He chose a librettist who warned Von Weber that she was not a librettist, but he signed her on anyway. The Overture is interesting and enjoyable; it is truly fine music which is still performed. According to  James M. Keller’s program note, Act One’s has “a ghost is represented by eight muted solo violins playing in highly chromatic counterpoint.”

Mozart’s Piano Concerto No. 9 in E=flat major, K.271 (1777) The remarkable pianist Jan Lisiecki played with brilliance and sensitivity. He is close to Mozart’s music as though Jan and Wolfgang had practiced together, discussed how each one wanted a particular measure would be played by each of them. This Concerto opened the door for orchestra and soloist both playing, knowing that each one, soloist and orchestra, will come through the door. It is complex but is still music. The beginning Allegro knows that the listeners expect soloist and the orchestra together could muddle the notes if both were playing. No, they each have their own language as though in a conversation.  The Andantino travels slowly as Mozart allows an emotional, minor key, to change the weather. True sadness in the music holds back and then releases the feeling of loss. The finale rebuilds the energy. He adds a minuet and a more exciting rondo. After the sadness of the Andantino, the music now has more to express by the lovely variations. Lisiecki played magnificently.

Dvorak’s 7th Symphony in D minor, Opus 70, is definitely something different. If part of the audience for Dvorak’s work is based on the most performed, it is Dvorak’s Symphony #9 in E minor, Opus 95. “From the New World” or the “New World Symphony” wonderful though it is, they are missing so much. Dvorak composed the 7th Symphony through 1884-1885. He conducted its premier in April, 1885, in London. The English had taken to Dvorak. His Stabat Mater made him a star. He was invited to perform more of his repertoire in 1884; his 6th Symphony swept musical London off their feet. That success produced a commission for another symphony. Dvorak worked steadily to make his new direction take over. Dvorak was a devoted Christian. He did not want to take any time away from the inspiration he received. This symphony is powerful and full of emotion, perhaps anger. There seems to be no hope for the future though he searches for at least one space of peace. The first movement is an Allegro maestoso. It has mixed characteristics. The Allegro keeps a lively timing, and it is the Majesty. The maestoso‘s majesty, I am sure it comes from the heavens for this symphony. The Adagio does not wake up the happiest tunes. It seems to look inward as the spirit of the movement tries to break away. Suddenly, there is a Scherzo. We can hear the folk music and rhythm, but it still does not take over. The Finale: Allegro, brings a slightly more optimistic mood. This is a bit more major key, and yet we are still aware of possible threats. The performance of this symphony was Maestoso. SFS and Andres Orozoco took our breath away.

Davies Symphony Hall, San Francisco, February 26 — It is difficult to forget works by Beethoven and Haydn, and yet that is what could happen a day after experiencing Mozart’s Requiem. It is even more so when the San Francisco Symphony is conducted by Manfred Honeck who is the complete conductor. He is with the SFS, and they are with him. He gives the music a dramatic context. He is sensitive to the rhythm, makes the rhythm. His physical movement captures the truth that music is physical. The music in the first half of the evening is still very fine. I will bring on Beethoven and Haydn, but briefly.

Beethoven’s Coriolan Overture, Opus 62, was written for a play which was a flop. The Overture, written in 1807, is definitely worthy to be in Beethoven’s symphonic list. It contains the emotion and tragedy of the story of Coriolanus in Shakespeare’s play which followed Plutarch’s plot. Coriolan felt he was not receiving the significance he deserves. A Roman general, he joined the enemy. Ready to get revenge, his family convinces him not to do that. Instead, he commits suicide. The music is powerful and still sad. Coriolan’s inner turmoil demonstrates that a Roman general can be torn by his feelings. An army leader needs to act without puzzling which of his options will be best. And what is the best direction for him? The music is full of his anger and then gives his wife’s plea for peace. It is a huge struggle which will end in violence. The music is big, strong, and feels the loss.

Joseph Haydn’s Symphony No. 93 in D major, was written in 1791. When his patron, Prince Nicolaus Esterhazy, died, Haydn saw the event as an opportunity; he moved to Vienna. There he met Johann Peter Salomon. Being both an impresario and a musician, Salomon offered Haydn a fine income to write six new symphonies. Together in London, 1791-92, the symphonies were very well received. Salomon was the concertmaster and Haydn played harpsichord. It was all a success, and Haydn created six more London Symphonies. Symphony No. 93 is a delight. Haydn brings together music that could be a dance except for its twists and turns. In the second movement, Largo cantabile, was mild and presents  an oboe solo. The third movement is a Menuetto: Allegro. It is fast and has a hopping rhythm with timpani. The close is Presto ma non troppo. It is a Rondo going faster and giving more delight. A lively and fun Symphony.

Mozart died writing his Requiem. There have been attempts to finish the Requiem where Mozart left off. Honeck did not go there. Instead, Honeck added pieces by Mozart and prose that deepens the profound meaning and emotion of the funeral mass. He added Three Bell Strokes, a sign of a death; Gregorian Chants twice at the beginning; a reading from a letter from Mozart to his father; Mozart’s Masonic Funeral Music, K. 477; Laudate Dominum from Mozart’s Vesperae solennes de Confessore, K.339/5; another Gregorian Chant; Reading poems by Nelly Sachs: “Who Knows Where the Stars Stand,” “When in the Late Spring;” Introitus: Requiem; Kyrie; Reading from Book of Revelation 6:8-17; Sequenz: Dies irae; Tuba mirum; Rex tremendae; Recordare; Confutatis; Lacrimosa; Gregorian Chant; Reading from Book of Revelation 21:1-7; Offertorium: Domine Jesu; Hostias; Lacrimosa ( a fragment, reprise); Ave verum corpus, K. 618 (1791); Three Bell Strokes

The Lacrimosa fragment was Mozart’s last writing. In this last moment, Conductor Honeck stopped the music. He stepped out to his left, his arm stretched out parallel to the floor, one leg was bent at the knee stretched out in a wide step from the other leg. His back was also parallel to the stage. He drew up again and repeated the reaching step. Here are comments by Honeck which are quoted in the program book.

“These readings are placed precisely at moments in the work where words and music intertwine in meaning.”

“This fragment, consisting of only eight bars, is heard earlier in the Requiem but is repeated here, creating a sense of unfinished eternity.”

“This concept intertwines Mozart’s music, historical context, and reflections on death, offering a deeply personal yet universal experience that transcends time.”