KEITH POWERS

The Boston Symphony Orchestra, Sir Roger Norrington conducting, yesterday afternoon in the Shed at Tanglewood.

Sometimes even though the star pitcher doesn't have his best stuff, the team scores a bunch of runs and wins anyway. The Boston Symphony Orchestra served up the classical music equivalent of this to close the summer season yesterday afternoon in the Shed at Tanglewood, performing Beethoven's Ninth Symphony under the baton of star conductor Sir Roger Norrington.

Many conductors are odd ducks, but Norrington could make up a collection of decoys. Working without the score, he showed at times that he had the score firmly in his head. But other times he barely seemed to care. His wacky way of turning completely around to face the audience (he did this dozens of times) was unnerving.

The slow third movement was the worst; Norrington hardly helped the orchestra. But a good offense still won the game. The BSO played with resolve and consistency the entire weekend. Saturday evening's "Enigma Variations" were white hot; this reading of Beethoven was arch, astute and utterly musical.

Norrington rearranged the band onstage to positive effect, placing all the violins at the front of the stage. There is much give and take between the upper and lower voices, and this arrangement advanced Beethoven's dialogue. No amount of diffident conducting could possibly deter the Tanglewood Festival Chorus - ably prepared as usual by John Oliver - from delivering its usual on- pitch, elevated and alert accompaniment.

Four stellar soloists graced the stage: soprano Christine Brewer, mezzo Jill Grove, tenor Stanford Olsen and bass Nathan Berg. They, too, sang their hearts out when they finally got the chance in the fifth and final movement.

It is the structure of the Ninth that is so revolutionary. As the finale begins, one asks, "What next?" One by one, the principal melodies from the first four movements are offered again, and as quickly dropped, as possible points of departure for the finale. The upper strings suggest the first movement's melody; the lower strings angrily aver. The same result awaits the second and third movements' melodies. Then the winds try out something resembling the fourth movement's theme, and the basses and cellos chase that away, too.

Musically, we're at the bottom. What next, Herr Beethoven? For those who have somehow missed the musical point up to now, the first words of the "Ode to Joy" state it emphatically: "Not these tunes. Rather let us tune our voices in a more pleasant and joyful song."

So we're off, with Beethoven introducing the first-ever use of voice in a symphony.

Norrington was at his comic worst in the finale, showing up his soloists repeatedly by turning to the audience while pointing his fingers at the singers, almost as if to say to the listeners, "Do you hear that? What do you think?" Nonetheless, a great storm of music raged behind him, and nothing could stop listeners from enjoying the real star, our own great symphony orchestra.

Here's to the end of another fine Tanglewood season.

Caption: SUMMER SEASON FINALE: The Boston Symphony Orchestra gloriously played Beethoven's Ninth under the quirky baton of Sir Roger Norrington.