Tan Dun and the London Philharmonic Orchestra, Symphony Hall, Birmingham | 29 March 2026 ⭐⭐⭐⭐ Review by David Gray & Paul Gray

Tan Dun and the London Philharmonic Orchestra

Symphony Hall, Birmingham | 29 March 2026

⭐⭐⭐⭐ Review by David Gray & Paul Gray

“An interesting, if not convincing, new work and an exciting reading of an established masterpiece.”

Tan Dun - Choral Concerto: Nine

Beethoven – Symphony No 9 in D minor, Op 125

Written in celebration of Beethoven, and as a companion piece to his 9th Symphony, Tan Dun’s choral concerto, Nine, is an eclectic piece.

It draws on pentatonic and diatonic musical language and uses the instruments of the orchestra in imaginative and adventurous ways. The piece utilises extended vocal technique: harmonics, glissandi on rolled Rs, vocalese, made-up phonetics – the kind of stuff which composers tried to shock us with in the 60s and 70s. It alternates blocks of orchestral colour and choral sound. As a result, it is an interesting and arresting work, if sometimes a bit dated.

However, because of the diversity of its component parts, “Nine” seems to lack any unifying musical idea or organising musical principle. As a consequence we are frequently distracted, but never really fully engaged.

The inevitable big finale, where chorus and orchestra give their all over a swaggering percussive riff, seems to come from nowhere. It is undeniably rousing but does not deliver any sense of arrival at the end of a journey, or cathartic release. However, this is a clever piece which provides a virtuosic workout for orchestra and chorus alike. But what does it all mean…..?

In the second half, conductor, Tan Dun gave us a brooding, sombre, romantic opening movement of Beethoven’s 9th. There was lots of passion and drama here. The dark textures, and some unfortunate blurriness in the ensemble, interfered with the articulation of the argument in the first ten minutes or so. Everything came together with more certainty as the movement developed. The conclusion was powerful and persuasive.

A very brisk Scherzo was full of lightness and clarity, with some deliciously boisterous and characterful brass work. The Adagio of this symphony can sprawl. Not here; Dun kept our attention with attention to detail, translucent textures, and by highlighting the moments of renewal and reinvigoration that Beethoven builds into his score.

A thunderous opening to the final movement left us in no doubt that business was meant. Standing in at the last moment, bass, Matthew Rose, effortlessly filled the hall with a stentorian, declamatory recitative. All of the soloists were equally excellent.

This is a movement about the transcendental transformation that can arise when humankind connects with one another. The work of the chorus perfectly expressed this ideal, alternating moments of ethereal beauty and of visceral power.

Dun drove the whole thing forward with commitment and energy to an invigorating and uplifting conclusion.

London Philharmonic Orchestra

Tan Dun – Conductor

Elizabeth Watts – Soprano

Hongni Wi – Mezzo Soprano

John Findon – Tenor

Matthew Rose – Bass

London Philharmonic Choir – Chorus Director – Madeleine Venner

London Chinese Philharmonic Choir – Artistic Director – Bo Wang