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For the most part, the wild-style treatment bore glorious fruit. The Finale soared on the sparks between conductor and orchestra. Like the music itself, the performance was restless. No less exciting was the Scherzo, with wondrously soft patter in the strings and bright, resolute calls by the horns.
Even more fulfilling was the Funeral March. There, Welser-Most held the orchestra at a steady simmer, conserving momentum while allowing details like the resonant rumbling of the basses to emerge in stark definition. In this atmosphere, the fugue came off like a low earthquake, the powerful result of clashing musical strata.
Only in the opening Allegro did Welser-Most’s approach seem questionable. The brisk pace and tendency to accelerate tainted the excitement, injecting an air of haste into a performance otherwise notable for its nobility of spirit.
On the drama scale, few scores rank higher than Berg’s opera, “Lulu,” tracing a prostitute’s debauchery-filled rise and ultimately gruesome fall. Next to this, Beethoven’s tribute to human resolve almost seems tame.

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