January 23 & 25, 2025
Atlanta Symphony Hall, Woodruff Arts Center
Atlanta, Georgia – USA
Atlanta Symphony Orchestra; Nathalie Stutzmann, conductor.
Ludwig van BEETHOVEN: Symphony No. 1 in C major, Op. 21
Ludwig van BEETHOVEN: Symphony No. 3 in E♭ major, Op. 55 (“Eroica”)
Mark Gresham | 27 JAN 2025
Due to a second January winter storm that raged through the American South this past week, Atlanta, on the upper edge of the anomalous weather system, experienced a modest snowfall again overnight Tuesday, which stayed on the ground through Wednesday while temperatures remained below freezing. By Thursday, the mess was clearing, and the Atlanta Symphony Orchestra played the first scheduled concert of its much-touted “Beethoven Project.”
A somewhat awkward video shown before the concert began, with music director Nathalie Stutzmann standing outside the Woodruff Arts Center with melting snow on the ground, seemed to warn that the orchestra did not have sufficient rehearsal time because of the weather. Word came later suggesting that the orchestra had only one full rehearsal plus some overtime to prepare.
Given those circumstances, the performance was credible overall in that the ASO musicians are top-level professionals who can work through circumstances that are not in the least ideal. The pair of Beethoven symphonies neither soared to new heights nor sunk to unpalatable lows. There were both problems and positives to come from the effort, though still not the peak experiences we would have liked to hear in the first installment of a heavily promoted venture, which generated heightened expectations.
Witness Beethoven’s Symphony No. 1. The remarkable 12 bars that comprise the “Adagio molto” introduction to the first movement are obligatory in-depth score study for all beginning conducting students. On the one hand, this First Symphony still shows considerable influence from his classical predecessors, particularly Haydn, although Beethoven was establishing his own voice. This introduction especially bears the clear marks of innovation.
The “Adagio molto” intro begins with an enigmatic harmonic gesture: a C major dominant seventh (V7/IV) that moves to F major (IV), defying the typical sense of firmly establishing the home key as was expected in symphonic introductions of the time. Beethoven further destabilizes the tonal center by passing through unexpected harmonies combined with the deceptive voice-leading, creating an atmosphere of suspense, suggesting dramatic motion rather than stability, bringing a new narrative-like quality to the symphonic form. This introduction sets a precedent for Beethoven’s later symphonies, where tonal exploration and dramatic tension become defining characteristics.
In the case of Thursday’s ASO concert, it was a somewhat rough start to Symphony No. 1. Both the first chord of the piece and that of the second measure were not temporally aligned within the orchestra, and there were similar ensemble problems several measures before the “Allegro.” Beyond the individual capabilities of the ASO players, this introduction requires a precise baton, especially when insufficient rehearsal is a looming factor. The music sort of “fell into” the subsequent “Allegro,” where inconsistent tempi at times made some entrances feel vague. The performance generally improved over the remaining movements, with the final movement taken at a likable tempo and achieving a solid finish.
A positive contribution to the overall sound in this concert was Stutzmann’s choice of ASO’s stage setup, with contrabasses centered at the back, anchoring the ensemble, which lent a more assured sonic foundation to the performance. Seating the violins antiphonally—with the first violins on the conductor’s left and the second violins directly opposite them on the conductor’s right, rather than side-by-side—was an assist to the overall sound in this concert, not the first time Stutzmann has realized some musical gain from this practice.
After intermission, the Symphony No. 3 fared much better. The “Eroica” marks a turning point for Beethoven, essentially the beginning of his “heroic” second period, but also for the symphonic form itself, with its length, complexity, and philosophical weight. The contrast between the two symphonies in Thursday’s concert was evident in not only the stylistic evolution but also the greater assurance exhibited in its execution by the ASO, including a broader, warmer sound in the strings. The ASO’s excellent horn section was especially laudable in the Trio of the Scherzo third movement—arguably their most prominent moment with its three-horn hunting-style fanfares that dominate the texture, standing out as one of the most recognizable and celebrated horn passages in Beethoven’s symphonic repertoire.
While the Atlanta Symphony Orchestra’s first installment of the “Beethoven Project” faced challenges, the performance ultimately highlighted the resilience and professionalism of the musicians. Despite a less cohesive opening in Beethoven’s First Symphony, the Third Symphony delivered moments showcasing the orchestra’s capacity for expressive depth and dynamic cohesion. As the “Beethoven Project” progresses, this concert serves as a reminder of the high stakes that come in the wake of unexpected events. We’ll have a better chance to assess the Project’s musical potential this Thursday, Saturday, and Sunday (January 30 – February 2, 2025) in the second installment when the ASO performs the Second and Fifth Symphonies, again under Stutzmann’s baton. ■
EXTERNAL LINKS:
- Atlanta Symphony Orchestra: aso.org

Read more by Mark Gresham.