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Levity versus Intensity Montreal
Maison Symphonique, Place des Arts
04/15/2026 - & April 16, 2026
Ludwig van Beethoven: Symphony No. 8, op.93
Dmitri Shostakovich: Symphony No. 7 “Leningrad”, op.60
Orchestre Symphonique de Montréal, Rafael Payare (conductor)
R. Payare (© Antoine Saito)
This concert had the felicitous (but not uncommon) idea of juxtaposing Beethoven and Shostakovich. However, programming the Eight Symphony by Bonn’s native son with the modern Russian master’s “Leningrad” Symphony is a less frequent choice, and it’s a welcome one. Beethoven’s Eighth harkens back to some extent to his earlier symphonies. He lovingly referred to it as “my little Symphony in F” to distinguish it from his Sixth, a longer work in the same key. Where Beethoven’s Eighth Symphony is lighthearted and joyous, Shostakovich’s Seventh is one of the most intense in the repertoire.
American author-composer Jan Swafford (b.1946) describes Beethoven’s Eighth as “a beautiful, brief, ironic look backward to Haydn and Mozart.” Indeed, it is so, much more than any of his symphonies, save for the earliest ones. Beethoven thought of it more highly than the Seventh, and when asked by his student Carl Czerny (1791‑1857) why it was much less popular than the Seventh, his response was “because the Eighth is so much better.” Alas, despite its great beauty and majestic structure, it remains among Beethoven’s least popular symphonies.
Payare’s approach to Beethoven here could be described as elegant and balanced. The jovial theme that opens the first movement, Allegro vivace e con brio, is reprised boisterously after some elaborate development. Both Beethoven’s Eighth and Seventh, in contrast to most symphonies, lack a slow movement. This accentuates the Symphony’s lightheartedness. The second movement, Allegretto scherzando, evokes Rossini in its levity and quasi-buffoonery. The fact that the second movement is traditionally a slow one makes the impact of this choice more remarkable. Payare eschewed excess and opted to insinuate mischief rather than force tomfoolery, thus achieving elegance rather than mere mirth. It was around the time of this symphony’s composition that Beethoven’s friend Johann Maelzel (1772‑1838) patented the metronome (originally invented by Andalusian polymath Abbas ibn Firras in the ninth century. The persistent “tick‑tock” rhythm is thought by some to be a parody of his friend’s “invention.” Given that Maelzel commercialized the metronome in 1817 and that the Eighth was composed in 1812, doubt could be cast on this theory.
The third movement, Tempo di minuetto, is noted for its spirited conversation between the instruments. It was much‑admired by Stravinsky, who described this movement as “incomparable instrumental thought.” The Montreal orchestra was able to bring out this movement’s delicate grace.
Sudden, erratic key changes and a recurring C‑sharp in the final movement, Allegro vivace, characterise the movement and accentuate mischievousness. Finally, the “dissonant” sounding C‑sharp is replaced by the “proper” F key, creating a spirited finale. Payare’s command of the OSM disproved the notion that this “cheerful” symphony benefits from a smaller rather than a large scale orchestra. By making each layer of the music’s texture clearly distinct, the orchestra achieved the needed balance and structural elegance.
Premiered in the Russian city of Samara, an important harbour on the Volga, in March 1942 (six months after the beginning of the German siege of Saint Petersburg, then called Leningrad), Shostakovich dedicated the work to his native city. One year into the city’s siege, it was performed there under dire circumstances. Smuggled out of the country via Tehran and Cairo, it soon reached New York, where it was premiered that same year at Radio City Music Hall by the NBC Symphony Orchestra with Arturo Toscanini at the helm.
The first movement, Allegretto, is in modified sonata form. British musicologist Hugh Ottaway (1925‑1979) described it as “misplaced and misshapen.” Its theme is played in unison by the strings and then reprised by the woodwinds, followed by a slower section played by the strings and flutes. Then comes the movement’s second theme, a 22‑bar ostinato, a march reminiscent of Ravel’s Boléro, only with higher voltage. The repetitive theme of the march, representing the German invasion, is initially played softly, unmenacingly – even cheerfully. By opting for this unassuming start, the middle section becomes more terrifying, building to a formidable, cohesive sound. Payare displayed his mastery by not overdoing the crescendo while providing the powerful structure that allowed his fine orchestra to shine.
The second part, Moderato (poco allegretto), provided relief from the intensity of the other movements. Indeed, Shostakovich referred to it as a “very lyrical scherzo.” The tempo adopted was on the fast side of Moderato, but this was in keeping with Payare’s overall brisk approach. The third movement, Adagio, which has a slow-fast-slow structure, is perhaps less remarkable than the more boisterous first and fourth, yet it’s the most emotional segment, evoking pain and suffering. The flute solo, a cry from the soul, was well‑executed and deeply affecting.
The final movement, Allegro non troppo, starts with a soft melody from the strings, briefly joined by the woodwinds. A slower passage led to the finale, which built to an apotheosis representing hope, which the orchestra played rather fast, thus affecting the triumphant finale. Despite a strong performance, this was one of the fastest renditions of this work I’ve ever heard.
Though these two works contrast greatly, each inspires joy. Beethoven’s Symphony No. 8 is one of the most cheerful, while Shostakovich’s Symphony No. 7, despite its intensity and subject matters, ends with hope, a more subtle expression of exuberance. Another reason for celebration was that young musicians from nearby institutions, the Conservatoire de musique de Montréal, l’Ecole de musique Schulich de l’Université McGill and Faculté de musique de l’Université de Montréal were invited to join the OSM for this occasion. Allegro con brio!
Ossama el Naggar
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