Photo from about two years ago
Sunday, March 22, 2026
Golden Hall, Musikverein, Vienna
His ninetieth-birthday on the horizon, April 29, Zubin Mehta has returned to the Vienna Philharmonic – they first met in 1961 – for a programme that has been scheduled for five outings, either at the Konzerthaus or the Musikverein. This Sunday matinee was the fourth. Originally it was Elgar’s Violin Concerto and Beethoven Eight, which became the current Weber and Bruch, together with Dvořák Seven; then – last minute (it seems) – Mehta asked to change the Czech masterpiece for the same-numbered Beethoven, a curious (and disappointing) decision given he’s conducted the Dvořák throughout his career, always stylishly, recording it in 1968.
The Overture to Oberon, Weber’s final music, opened with a magically soft horn-call leading off an atmospheric and expressive rendition that was later contrasted with a measured if bouncy allegro, rhythmically elegant and delightfully detailed. Pinchas Zukerman was in top form for the Bruch, commanding and vibrant, lyrically intense, smartly accompanied, with the Finale (launched as attacca as it’s possible to be) athletic and ardent, with an appropriate sprint through the concluding bars. Presumably Austrian Radio had checked with Zukerman if he planned an encore and received “Nein” in response, hence the quick getaway to the interval talk, following which a majestic (even without repeats) Beethoven Seven. Time-taken, yes, but never indulged or dull, sure of direction, the second-movement Allegretto of solemn tread and, with it, gravitas, riposted by an alert Scherzo and a generously moulded Trio, the whole rounded by a Finale that whatever it lacked in speed (not a problem) was compensated for through clarity, the Vienna Philharmonic’s seasoned instincts for this music present throughout.
SXL6381, released 1969. Recorded at Kingsway Hall, London, during the Israel Philharmonic’s 1968 tour.
SXL6673. Recorded April 1974, Royce Hall, University of California, LA. Released same year.