BSO — 2025/05/03

 This is the last concert broadcast of the curreent BSO Symphony Hall Season. They'll be back live at Tanglewood on July 5. After this evening until then I expect we'll be treated to "encore broadcasts" on Saturday evenings.

This evening they wrap up the "Decoding Shostakovich" series. WCRB synopsizes as follows: https://www.classicalwcrb.org/show/the-boston-symphony-orchestra/2024-11-04/baibe-skride-and-the-boston-symphony-orchestra

Saturday, May 3, 2025
8:00 PM

Latvian violinist Baiba Skride brings her signature dulcet tones to Shostakovich’s Violin Concerto No. 1. The whole piece is filled with Jewish klezmer influence at a time when antisemitism was on the rise in the USSR, a demonstration of Shostakovich’s ability to fold messages of revolution and resistance into his music.

Andris Nelsons, conductor
Baiba Skride, violin

ALL-SHOSTAKOVICH program
Violin Concerto No. 1
Symphony No. 8

The BSO;s performance detail page provides links to the program notes in the booklets given to those in attendance and offers this oveerall description:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Andris Nelsons, conductor
Baiba Skride, violin

ALL-SHOSTAKOVICH program
Violin Concerto No. 1
-Intermission-
Symphony No. 8

Friday afternoon's performance by Baiba Skride is generously supported by the Plimpton Shattuck Fund.

A part of our series looking at the music and times of Dmitri Shostakovich and how the composer folded messages of revolution and resistance into his music during a politically turbulent time. Latvian violinist Baiba Skride brings her signature dulcet tones to Shostakovich’s Violin Concerto No. 1. This work is a deeply personal one, influenced by the composer’s fear of the Soviet censors and actual encounters with restrictive directives from the government. These bitter feelings toward the regime especially color the third and fourth movements. In this way and many others, we see the composer finding ways to stand up to prevailing political winds; for example, the whole piece is shot through with Jewish klezmer influence at a time when antisemitism was on the rise in the USSR.

So far there is no review in either the Globe or the Intelligencer, so the only thing to helppyou decide whether to listen — apart from having heard Shosty's music in the past — is what you can glean from the program notes. So there you have it. I don't consider it "must listen," but you might want to give it a try.

BSO — 2025/04/26

 The "Decoding Shostakovich" series continues, with some non-Shostakovich material as well. Here's WCRB's summary:

Saturday, April 26, 2025
8:00 PM

This program pairs Shostakovich’s introspective, classically elegant Sixth Symphony with Stravinsky’s austerely profound Symphony of Psalms, commissioned by Serge Koussevitzky for the BSO’s 50th anniversary. The BSO commissioned Aleksandra Vrebalov to compose a psalm setting using the same musical forces as Stravinsky’s masterpiece. Originally from the former Yugoslavia and winner of the prestigious 2023 Grawemeyer Award, Vrebalov composes music of deeply spiritual humanism influenced in part by Byzantine chant.

Andris Nelsons, conductor
Tanglewood Festival Chorus,
 James Burton, conductor

Aleksandra VREBALOV Love Canticles for chorus and orchestra (world premiere; BSO commission)
Igor STRAVINSKY Symphony of Psalms
Dmitri SHOSTAKOVICH Symphony No. 6

There are links to the program notes, which could be good reading about these unfamiliar pieces, at the BSO's performance detail page, which begins with this synopsis:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Andris Nelsons, conductor
Tanglewood Festival Chorus,
 James Burton, conductor

Aleksandra VREBALOV Love Canticles for chorus and orchestra (world premiere; commissioned by the Boston Symphony Orchestra, Andris Nelsons, Music Director, through the generous support of Catherine and Paul Buttenwieser and the New Works Fund established by the Massachusetts Cultural Council, a state agency.)
STRAVINSKY Symphony of Psalms
-Intermission-
SHOSTAKOVICH Symphony No. 6

This program pairs Shostakovich’s introspective, classically elegant Sixth Symphony with Stravinsky’s austerely profound Symphony of Psalms, commissioned by Serge Koussevitzky for the BSO’s 50th anniversary. In fact, Shostakovich so revered Stravinsky’s piece that he made a two-piano arrangement of the score. Commissioned by the BSO especially for these concerts, Aleksandra Vrebalov’s Love Canticles sets Psalm texts in English from the King James Bible, using the same musical forces as Stravinsky’s masterpiece. Originally from the former Yugoslavia and winner of the prestigious 2024 Grawemeyer Award, Vrebalov composes music of deeply spiritual humanism influenced in part by traditional Eastern Orthodox chant.

Unusually, this evening's concert is the first performance of this program, so there has been no chance for anybody to publish a review. (Usually the Saturday concert is a repeat of what is given on Thursday evening and Friday afternoon.) So you can hear the literal world premiere of the Vrebalov, and it could be worth hearing.

BSO — 2025/04/19

 WCRB tells us:

Saturday, April 19, 2025
8:00 PM

Mitsuko Uchida has, from an early age, been considered a standout interpreter of Beethoven. The Fourth Concerto’s opening lets the instrument speak for itself — intimately and delicately — leading the way for the rest of the ensemble. Shostakovich’s Fifteenth Symphony is his last symphony and is full of quotations, codes, clues, and ambiguity.

Andris Nelsons, conductor
Mitsuko Uchida, piano

Ludwig van BEETHOVEN Piano Concerto No. 4
Dmitri SHOSTAKOVICH Symphony No. 15

The BSO's performance detail page gives us links to the program notes for each piece and this slightly longer blurb:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Andris Nelsons, conductor
Mitsuko Uchida, piano

BEETHOVEN Piano Concerto No. 4
-Intermission-
SHOSTAKOVICH Symphony No. 15

Mitsuko Uchida has, from an early age, been considered a standout interpreter of Beethoven. The Fourth is considered the first of Beethoven’s piano concertos to depart from the format prescribed by Mozart (an orchestral introduction with a dramatic solo entrance). The concerto’s opening lets the instrument speak for itself — intimately and delicately so—to lead the way for the rest of the ensemble. Shostakovich’s Fifteenth Symphony is his last symphony and is full of quotations, codes, clues, and ambiguity. This is an experience defying description that invites the listener to create their own personal interpretation.

The reviewer in the Globe liked both parts of the concert, especially the Beethoven. So far, there's no review in the Intelligencer.

It should be a good concert. By all means, listen to the Beethoven if you're free, and see what you think of the Shostakovich. I'll be in church for the Ester Vigil, but if it weren't Holy Saturday, I'd be listening.

BSO — 2025/04/12

 Unusually, there is no BSO concert being performed in Symphony Hall this evening, so WCRB is giving us the concert they recorded yesterday evening, described as follows:

Saturday, April 12, 2025
8:00 PM

Dmitri Shostakovich often folded messages of revolution and resistance into his music during a politically turbulent time. Yo-Yo Ma brings the specter of resistance in Shostakovich’s Cello Concerto; a prime example of the composer using music to protest an authoritarian regime. The program concludes with his Symphony No. 11, The Year 1905.

Andris Nelsons, conductor
Yo-Yo Ma, cello

ALL-SHOSTAKOVICH program
Cello Concerto No. 1
Symphony No. 11, The Year 1905

This concert will take place on Friday, April 11th and will be broadcast on Saturday, April 12th.

The BSO's performance detail page gives us the following blurb:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Andris Nelsons, conductor
Yo-Yo Ma, cello

ALL-SHOSTAKOVICH program
Cello Concerto No. 1
-Intermission-
Symphony No. 11, The Year 1905

A part of our series looking at the music and times of Dmitri Shostakovich and how the composer folded messages of revolution and resistance into his music during a politically turbulent time. Yo-Yo Ma brings the specter of resistance to the stage. Shostakovich’s Cello Concerto is a prime example of the composer using music to protest an authoritarian regime; the cello stands defiant against the orchestra, often playing out its own theme not reflected in the ensemble, until it disseminates into a wild cadenza and is whisked away into a sudden abrupt end.

Program notes are linked and could be interesting.

The "series looking at the music and times of Dmitri Shostakovich" is titled "Decoding Shostakovich" and runs from April 10 through May 7. There are symphony concerts and four lectures on Shostakovich and his times. I had a ticket for the Thursday concert, which had Shostakovich's Symphony No. 6 in place of the cello concerto, but I didn't go. The BSO had performed all the symphonies over the course of several years a while back. Some of them were tolerable, but I wasn't really interested in hearing them again — at least not enough to pay the cost of getting a ride home after the concert. I'll listen this evening, but with the idea that maybe I'll find something worthwhile, not that it's something I'm enthusiastic about.

There is no review in the Globe but two(!) in the Intelligencer. https://www.classical-scene.com/2025/04/11/decoding-shostakovich-6-11/ and https://www.classical-scene.com/2025/04/11/shostakovich-month/ The second one also gives a description of the whole "Decoding Shostakovich" month.

It could be "interesting."

BSO — 2025/04/05

 I'm not familiar with any of the pieces on this evening's Boston Symphony concert, so let's see what WCRB says:

Saturday, April 5, 2025
8:00 PM

Dima Slobodeniouk leads three works, all notable for their proximity to wartime. Edward Elgar’s Violin Concerto can be seen in retrospect as an idyllic calm before the storm of World War I. Adolphus Hailstork’s Lachrymosa: 1919explores the Red Summer of 1919, a deadly backlash against Black American prosperity in the wake of the war. Stravinsky’s Symphony in Three Movements was the composer’s dark reaction to the universal devastation of World War II.

Dima Slobodeniouk, conductor
Frank Peter Zimmermann, violin

Adolphus HAILSTORK Lachrymosa: 1919
Igor STRAVINSKY Symphony in Three Movements
Edward ELGAR Violin Concerto

In a preview of this program, conductor Dima Slobodeniouk describes the emotional power of Hailstork's Lachrymosa: 1919, the extreme shift in energy among the different works on the program and the audience's role in facilitating that energy, and the qualities Frank Peter Zimmermann brings to Elgar's Violin Concerto. To listen, use the player above and read the transcript below.

TRANSCRIPT:

Brian McCreath This program. Three pieces that are so different from each other. Adolphus Hailstork's "Lachrymosa: 1919." Not a piece that I had known before, but what a gorgeous, beautiful, moving piece of music.

The interview might also be good preparation.

The BSO's performance detail page has the same description of the concert, but it also has links to the program notes for esch piece, which can be useful if you want to know what to expect (or to follow along aas things are being performed).

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Dima Slobodeniouk, conductor
Frank Peter Zimmermann, violin

Adolphus HAILSTORK Lachrymosa: 1919
STRAVINSKY Symphony in Three Movements
-Intermission-
ELGAR Violin Concerto

Dima Slobodeniouk leads three works, all notable for their proximity to wartime. Edward Elgar’s Violin Concerto can be seen in retrospect as an idyllic calm before the storm of World War I. Adolphus Hailstork’sLachrymosa: 1919 explores the Red Summer of 1919, a deadly backlash against Black American prosperity in the wake of the war. Stravinsky’s Symphony in Three Movements was the composer’s dark reaction to the universal devastation of World War II.

The Globe doesn't seem to have a review, but there is a favorable one in the Intelligencer.

It seems that this will be a concert worth listening to.

BSO — 2025/03/29

 This evening we hear two pieces, first a 20th Century orchestral composition and then the Mozart Requiem. Here's WCRB's synopsis:

Saturday, March 29, 2025
8:00 PM

The BSO and guest conductor Dima Slobodeniouk explore the intersection of quiet contemplation and fervent prayers, beginning with Arvo Pärt's Tabula Rasa— an introspective piece exploring silence, space, and spirituality that quietly changed the shape of 20th century music. The concert concludes with Mozart’s Requiem, an era-defining orchestral and choral work.

Dima Slobodeniouk, conductor 
Alexander Velinzon and Lucia Lin, violins (Pärt) 
Erin Morley, soprano
Avery Amereau, mezzo-soprano
Jack Swanson, tenor
Morris Robinson, bass
Tanglewood Festival Chorus,
 James Burton, conductor

Arvo PÄRT Tabula Rasa
W.A. MOZART Requiem

In a preview of this concert, conductor Dima Slobdeniouk describes the deeply emotional power of Pärt's Tabula Rasa, as well as its way of magnifying the impact of Mozart's Requiem. To listen, use the player above, and read the transcript below.

TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall with Dima Slobodeniouk, who is back with the Boston Symphony for two weeks of concerts, which is just fantastic. Dima, I'm glad you're here, and thanks for a little of your time today. I appreciate it.

Dima Slobodeniouk Hi, Brian. Great to be back.

Brian McCreath The first week of your time here is devoted to two pieces and what powerful pieces they are, Arvo Pärt's "Tabula Rasa" and Mozart's Requiem. So let's talk about this Arvo Pärt piece first. It's a powerful piece made of simplicity.

The BSO's performance detail page doesn't say anything specific about the Mozart, but makes up for it with links to the program notes on both pieces, which should make for informative reading. There are also links to performer bios. 

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Dima Slobodeniouk, conductor
Alexander Velinzon and Lucia Lin, violins (Pärt) 
Erin Morley, soprano
Avery Amereau, mezzo-soprano
Jack Swanson, tenor
Morris Robinson, bass
Tanglewood Festival Chorus,
 James Burton, conductor

Arvo PÄRT Tabula rasa
-Intermission-
MOZART Requiem

This concert probes the intersection of quiet contemplation and fervent prayers, beginning with Arvo Pärt's Tabula Rasa — an introspective piece exploring silence, space, and spirituality that quietly changed the shape of 20th century music. 

The Globe review is very favorable. So far, nothing has appeared in the Intelligencer.

Sometimes unfamiliar 20th Century music can be a bit scary, since there is so much cacophony from that era, but the interview and program note remove the worry. It should be easy enough to listen to. And the Mozart Requiem is less bombastic than some 19th Century settings. So this should be a good evening of music. I'm looking forward to it.

BSO — 2025/03/22

 This evening's concert is unusual. I'm guessing it's intended as part of an outreach to a wider community than those who regularly come to symphony concerts, and I have no doubt it will attract the intended audience. I wonder, though, if those who come for this will return for Beethoven or Shostakovich. Maybe a few will and there will be a gradual growth in awareness of the BSO as a worthwhile place to go for enjoyable music. But I doubt there will be a dramatic influx right after this. Anywat, WCRB tells us what's on offer:

Saturday, March 22, 2025
8:00 PM

Considered one of the most preeminent jazz artists of all time, and one of the most influential musical artists of any genre, John Coltrane has truly played a part in shaping the music of today. Coltrane: Legacy for Orchestra is a new live concert experience re-framing some of John Coltrane’s most popular and influential works with lush orchestrations, accompanied by exclusive and recently exhibited personal photographs of John Coltrane.

Edwin Outwater, conductor
Terence Blanchard, trumpet

John COLTRANE Legacy for Orchestra
Curated by Carlos Simon

John COLTRANE, orch. Erik Jekabson – Blue Train
COLTRANE, orch. Andy Milne – Naima
Thelonius MONK, orch. Andy Milne – Crepuscule with Nellie
COLTRANE, orch. Steven Feifke – Giant Steps
Guy WOOD, orch. Ben Morris – My One and Only Love
Miles DAVIS, orch. Tim Davies – So What
DAVIS, orch. Cassie Kinoshi – Blue in Green
COLTRANE, orch. Andy Milne – A Love Supreme, Part I: Acknowledgement
Duke ELLINGTON, orch. Carlos Simon – In a Sentimental Mood
COLTRANE, orch. Ben Morris – Crescent
COLTRANE, orch. Tim Davies – Central Park West
COLTRANE, orch. Carlos Simon – Alabama
COLTRANE, orch. Ben Morris – Impressions
Richard RODGERS, orch. Jonathan Bingham – My Favorite Things

To hear a preview of the program with BSO Composer Chair Carlos Simon, use the player above, and read the transcript below.

INTERVIEW TRANSCRIPT

Brian McCreath I'm Brian McCreath at Symphony Hall with Carlos Simon, the Composer Chair for the Boston Symphony Orchestra and the curator of Coltrane: Legacy, this great program.

The BSO's performance detail page has a link to an extensive program note which gives a good biography and appreciation of Coltrane, followed by an informative note on each work in the program. There are, as usual, links to performer bios for the conductor and the soloist at the performance detail page.

The Globe has a nice preview article, but no review. We get a review in the Intelligencer.

I don't really know what to expect, since I rarely hear jazz, but I'll have my radio on.

BSO — 2025/03/15

 This evening the BSO starts with a staple of the repertoire and finishes with two less familiar pieces, as WCRB tells us:

Saturday, March 15, 2025
8:00 PM

Guest conductor Teddy Abrams leads the BSO and soloist Ray Chen in Tchaikovsky’s Violin Concerto, the first work the composer completed after his separation from his disastrous marriage. 120 years later, Michael Tilson Thomas lovingly set three of Walt Whitman poems about longing and belonging for baritone and orchestra. Leonard Bernstein’s star-crossed lovers closes the program in an iconic love letter to New York.

Teddy Abrams, conductor
Dashon Burton, bass-baritone
Ray Chen, violin

Pyotr Ilyich TCHAIKOVSKY Violin Concerto
Michael TILSON THOMAS Whitman Songs
Leonard BERNSTEIN Symphonic Dances from West Side Story

In a preview of this program, Teddy Abrams describes his close relationship with Michael Tilson Thomas, the thematic threads that weave through these three pieces of music, and ideas about the role of orchestras in the lives of the cities in which they perform. To listen, use the player above, and read the transcript below.

INTERVIEW TRANSCRIPT

Brian McCreath I'm Brian McCreath at Symphony Hall with Teddy Abrams, who is here in Boston

The orchestra's own performance detail page adds one factoid and gets the verb correct (plural) in the final sentence:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Teddy Abrams, conductor
Ray Chen, violin
Dashon Burton, baritone

TCHAIKOVSKY Violin Concerto
-Intermission-
Michael TILSON THOMAS Whitman Songs
BERNSTEIN Symphonic Dances from West Side Story

Ray Chen plays Tchaikovsky’s beloved Violin Concerto, the first work the composer completed after his separation from his disastrous marriage and a piece he almost dedicated to his student – and likely lover and inspiration, Iosif Kotek. 120 years later, Michael Tilson Thomas lovingly set three of Walt Whitman poems about longing and belonging for baritone and orchestra. Leonard Bernstein’s star-crossed lovers close the program in an iconic love letter to New York and love itself.

Regrettably, this week they refuse to share the program notes.

The review in the Globe is scathing about the violinist and his antics, but generally favorable with regard to the post-intermission music. The Intelligencer, OTOH, found no problem with the violinist's performance, and, apart from balance problems in the first Whitman Song, was happy with how they all did.

Of course, you don't get to see the goings-on; hearing should be worthwhile.