Virtually all of Japan's symphony orchestras perform Ludwig van Beethoven's Ninth and last symphony at the end of the year, as the general populace makes its annual affirmation of the noble qualities declaimed in the lyrics of the choral finale, Friedlich von Schiller's "An die Freude (Ode to Joy)." Japanese orchestras have long thrived under the tradi- tion of these yearend concerts, and orchestras from abroad are likewise sensitive to the advantages of presenting this work on tour in this country.

These considerations are of particular interest to music promoters, responsibly concerned with boosting box-office revenue. Still, there is artistic merit in performing the great composition in and of itself. Its well-known musical demands also testify to the technical and expressive accomplishment of the performers.

Performing and experiencing great works of art is ennobling to the participants, and enriching to society. The ancient Greeks knew this. They enumerated the seven liberal arts and sciences as grammar, rhetoric, logic; mathematics, geometry, astronomy; and music.

Each generation has to rediscover these ancient truths for itself.

Tokyo Philharmonie Kokyo Gakudan

Dec. 28, Tetsuro Ban conducting in Orchard Hall -- Motet "Ave Verum Corpus," KV 618 (Wolfgang Amadeus Mozart, 1756-91), Chorale "Jesu bleibet Meine Freude," BWV 147 (Johann Sebastian Bach, 1685-1750); Symphony No. 9 in D Minor, Op. 125 "Choral" (Ludwig van Beethoven, 1770-1827) with Mari Midorikawa, Chieko Teratani, Kei Fukui, Tsuyoshi Mihara and the Tokyo Opera Singers

The Tokyo Philharmonic Orchestra under Tetsuro Ban presented a special performance of Beethoven's Ninth in Orchard Hall just before the New Year. Growing out of a predecessor founded in 1911, the 86-member TPO counts itself the oldest existing orchestra in Japan.

Having been invited to conduct at the Berlin Comic Opera, Ban was offered the opportunity to show the public in Japan his accomplishments since his 1992 appointment as an assistant conductor of the PMF Orchestra in Hokkaido. He first had the thorny decision of whether to present the 70-minute-long symphony in solitary splendor, or preceded by an abbreviated first half to warm up the audience.

Mozart's "Ave Verum Corpus" is heavenly music, and the chorale from the Bach cantata is similarly beloved. The thought was good, and it should have worked. Alas, the memorized exercise conveyed little intensity and virtually no insight into shaping or coloring the music. After a scant 15 minutes, the audience was sent away for an early intermission to deal with their puzzlement.

The Beethoven fared better, in considerable contrast to the first half. The performance was couched in bright tempos and full comfortable sweeps of unadorned orchestra tone, a young man's feeling. Letting the melodies sing innocently, he produced dynamics rather than nuances. It was obvious he was conducting the orchestra though, hearing and reacting to the playing, and that alone is positive testimony to his capacities and potential.

The characterization did not yet seem to have the depth of maturity which accrues from experience. Ban seemed unable to take time to listen to the music as it sounded, and to savor it. Still, he did attend to many things which most young conductors fail to note. The tricky cadenza showed technical accomplishment.

He displayed more sophistication than other conductors his age, and the experienced chorus and quartet of soloists did their best to cope with the vocal acrobatics the charge-ahead tempos demanded of them. It was noisy, but it was also technically accomplished and musical. It will be interesting to hear his work in a few more years, when he can charge his interpretation with musicality overriding the excitement.

Sankt-Peterburgski Gosudarstvenni Akademicheski Teatr Operi i Baleta Orkestr

Dec. 29, Andrey Anikhanov conducting in Minato Mirai Hall -- Suite No. 3 in D Major, BWV 1068 (Johann Sebastian Bach); Symphony No. 9 in D Minor, Op. 125 "Choral" (Ludwig van Beethoven) with Tatiana Cherkassova, Natalia Evstafieva, Vassily Spitchko, Alexander Matveyev and the TCF Chorus

The Saint-Petersburg National Academic Theater Opera and Ballet Orchestra under Andrey Anikhanov likewise presented a seasonal performance of Beethoven's Ninth. With the founding of its antecedents in 1830, the 65-member orchestra counts itself the oldest existing orchestra in Russia. Billed as the Leningrad State Theater Orchestra in memory of Modest Petrovich Mussorgsky, to distinguish itself from the several other renowned orchestras of the thrice-named city, the enterprising ensemble was making its fourth biennial tour of Japan.

Anikhanov and company appear to have recognized a winning ploy for their visits here. The orchestra played in the pit for an extended series of ballet performances with a local ballet company, and on stage for concert performances with a local chorus, the TCF Chorus. Two years ago, in fact, the same excellent chorus was used, two of the soloists were the same, and the main work of the program was the same "Choral" Symphony. That formula appears to work for them, and they appear happy not to make innovations in what already guarantees them a public.

We saw a new side of Anikhanov, though, when he played and conducted Bach's Orchestra Suite No. 3 seated at the harpsichord. The performance sounded pleasant and well melded. The 20-minute work itself seemed just the right length (and weight) though to satisfy the audience before the pause preceding the "Choral" Symphony.

There has been noticeable improvement in Anikhanov's work since he performed the Beethoven here two years ago. His gestique has become more smooth, the sound of the orchestra is better, and the interpretation has taken on more musical substance.

In the sharp climaxes the composer uses, the musicians were guided with considerable sense to apply energy and intensity to the rise, and then back off marginally after the peak so that other voices could be heard. Many conductors don't do this, but done right it makes the orchestra sound -- and sound is the starting point of music.

The chorus and solo quartet were excellent. The entire choral finale made a fine impression, particularly when Anikhanov focused the position of his long, slim arms in the visual field of the players. The steady experience of studying and playing together has been a boon to the young conductor, to the Leningrad State Theater Orchestra (or whatever), to the guest performers and to the audience who bore witness. It will be interesting indeed to hear their performance in another two years, when no doubt they will be here again.