Review: Maybe it’s just in keeping with his season-long Beethoven theme, but Chicago Symphony music director Riccardo Muti’s program for concerts Nov. 7-12 at Orchestra Hall is planted squarely at the heart of German Romanticism after Beethoven’s death in 1827. Wagner. Schumann. Brahms. Theodore Thomas, the CSO’s founding music director, might have put together just such a bill of fare in the 1890s, except then Brahms’ Concerto for Violin and Cello would have been (nearly) contemporary music, and even the “Flying Dutchman” Overture would have borne an echo of the lately deceased Wagner’s bold spirit.
Review: Listening to Rudolf Buchbinder zip through four Beethoven sonatas, his playing as crisp and sure as it was fleet, I found myself wondering if this is how Beethoven might have performed these pieces – two early sonatas and the formidable “Appassionata.” It’s not that I thought Buchbinder’s approach was ideal; I didn’t. In fact, for all his impeccable technique, which never failed him even in the “Appassionata’s” blazing finish, and much as I admired his clarity and consistency, I kept hoping for more personality, more emotional complexity.