Tafelmusik launched their 45th season with a concert titled “Beethoven 4 and 5“ at Koerner Hall, perhaps in echo of their anniversary.

We not only heard a wonderful concert, but witnessed a moving reunion between the ensemble and their regular guest conductor Bruno Weil, with whom they’ve made so many wonderful recordings, particularly the Beethoven Symphonies, discs that I prize.

It was great to see Weil again, even if he seemed somewhat pained moving to and from his podium, sitting for portions of the concert but inspired at key moments. Who knows when they’ll get the chance to play with Weil again, who was looking decidedly frail today.

I can’t recall the last time I saw so many smiles from the players of an orchestra, clearly enjoying the program.

We heard the overture to The Creatures of Prometheus to begin, before proceeding to the 4th Symphony. This work sounds different played by an ensemble like Tafelmusik with their sweet sounding strings and winds, especially in Koerner Hall. I think this is my first time hearing Tafelmusik play Beethoven in there since the pandemic disrupted everything. I found myself wondering if my ears were off, as the pure rich sound especially at the lower end made for a powerfully visceral experience. But it’s simply the fact that this was the first time I had heard anything so overwhelmingly beautiful in awhile. The orchestra players weren’t the only ones smiling, although at times my eyes were tearing up, stunned.

I’m particularly fond of the second movement with its rhythms that resemble a human pulse, a meditation of great beauty. The other three movements are rambunctious in comparison, especially joyful at the quick tempi favored by Weil.

The smiles were set aside, perhaps considered unseemly given the drama of the opening movement of the 5th symphony, although I saw a few in the lovely second movement. Every moment, each note was beautiful, stirring. Weil sat for the second and third movements, jumping to his feet for the powerful opening of the fourth movement. He resumed his seat in the development (when it modulates), although when we again had the transition from the minor back into the major he once again leapt to his feet, perhaps seeking to inspire the orchestra with his enthusiasm. They were grinning with good reason, the last movement positively orgasmic.

I am perhaps out of touch with Tafelmusik, an ensemble known for their mastery of baroque performance practice. Yes I loved the Beethoven. I’m hungry for more, more romantic music. As the program note reminds us, Weil’s association with Tafelmusik goes back to 1994, almost thirty years ago. I recall less secure performances before they acquired the masterful confidence on display today throughout the program or in their recordings of Beethoven. Am I the only one who wants to hear them play Schubert or Schumann or Mendelssohn let alone Berlioz? They were amazing playing Weber for Opera Atelier’s Der Freischütz awhile back, conducted by David Fallis. But as far as I can tell Tafelmusik have a solid following, subscribers who know and love their baroque, particularly their Messiah in December. To be honest, I love that side of Tafelmusik too even if I wish they’d play more romantics as well. Maybe next year.

Tafelmusik return for concerts October 13-15 at Jeanne Lamon Hall, titled Vive la différence: Lully and Corelli, exploring the rivalry between the distinct French and Italian baroque styles epitomized by the music of Lully and Corelli.