This week the Boston Symphony is presenting two symphonies under the baton of guest conductor Giancarlo Guerrero. First we'll hear Symphony№ 6, "Pathétique," by Tchaikovsky, a perennial favorite. Then, after intermission, it's Symphony № 3, "Kaddish," by Bernstein, which the BSO hasn't performed since they gave the American premiere in 1964. At the BSO's program detail page for this evening's concert, you can find the usual inks to background information and the following synopsis:
Continuing this season's centennial celebration of the great Leonard Bernstein, Costa Rican conductor Giancarlo Guerrero returns to lead the BSO in Bernstein's Symphony No. 3, Kaddish, which is dedicated to the memory of John F. Kennedy. The Jewish "Kaddish" is the prayer chanted for the dead, a hymn of praise to God's name. Originally commissioned by the BSO for its 75th anniversary in 1955-56 but only finished in November 1963, this emotional, almost theatrical score was premiered under Bernstein's direction by the Israel Philharmonic. The BSO gave its only performances of the full score in early 1964 under Charles Munch. Opening the program is Tchaikovsky's masterful Pathétique Symphony, one of the composer's last works, full of intensely beautiful music, ending with a slow, quiet, and poignant finale.Soprano Mary Wilson will replace Tamara Wilson for the Boston Symphony Orchestra concerts March 15-17. Soprano Tamara Wilson is regretfully unable to perform this week due to a back injury.
I heard it on Thursday. The Tchaikovsky seemed well played, with nothing amiss or extraordinary in it. From where I sat in the second balcony near the stage, it didn't fade away at the end quite as much as I had expected. It was my first encounter with Bernstein's "Kaddish." I was curious to hear it. When I hear a work with a text, I tend to pay more attention to the words than the music, and that was the case with this symphony; so I can't say much about the music beyond that it was loud, except when it soft, and noisy, except when it was calm. The text expressed anxiety about the state of things, blaming God for letting things get so bad. It was irreverent, and at a few points it bordered on the blasphemous; but it probably expressed honest feelings which were/are shared by many.
In what for them is a fairly lengthy review, the Globe spent a lot of time describing the Bernstein piece, with little about the performance, and just one (favorable) sentence about the Tchaikovsky. At the moment of this writing, there is no review in the Boston Musical Intelligencer.
It's all there for your listening pleasure on WCRB radio and on line at 8:00 p.m. EST, with a rebroadcast on March 26. Also check the website to see what else they're offering.
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