{"id":74928,"date":"2026-08-25T14:44:05","date_gmt":"2026-08-25T12:44:05","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?post_type=kalender&p=74928"},"modified":"2026-08-25T14:44:05","modified_gmt":"2026-08-25T12:44:05","slug":"concert-beethoven-ix","status":"publish","type":"kalender","link":"https:\/\/www.musikzeitung.ch\/en\/kalender\/concert-beethoven-ix","title":{"rendered":"Concert \u2013 Beethoven's Ninth Symphony"},"content":{"rendered":"

In *Altitude*, for five soloists and symphony orchestra, Abril Padilla does not view the orchestra as a musical machine but as an organism composed of everyday gestures. Interwoven within it are sounds from La Chaux-de-Fonds and, in fragments, Beethoven\u2019s Ninth Symphony: at first distorted, it gradually surfaces until it is reconstructed. It is then that it reveals itself in its entirety. The orchestra alone, three movements without voices; then a man stands up and declares: \u00abO Freunde, nicht diese T\u00f6ne!\u00bb Behind this voice, the entire choir yearns for joy, but it eludes them: Beethoven seeks it, loses it, disguises it as a military march, elevates it to a prayer. The chorus\u2014180 singers\u2014becomes a collective figure, a \u00abwe\u00bb that Beethoven introduces where, before him, no human voice had a place.<\/p>\n

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S\u2019y m\u00ealent des sonorit\u00e9s de La Chaux-de-Fonds et, par fragments, la Neuvi\u00e8me de Beethoven\u2009: d\u2019abord d\u00e9form\u00e9e, elle affleure peu \u00e0 peu, jusqu\u2019\u00e0 se reconstituer. 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