Tanglewood — 2026/07/18

 

 This evening the guest conductor brings mostly his own compositions. Per WCRB: https://www.classicalwcrb.org/show/the-boston-symphony-orchestra/2026-03-25/hisaishis-bso-debut-at-tanglewood

Saturday, July 18, 2026
8:00 PM

Japanese composer, conductor, and pianist Joe Hisaishi – known for scoring Studio Ghibli films – makes his Boston Symphony Orchestra debut at Tanglewood, conducting his own compositions as well as Ravel’s Piano Concerto in G with soloist Jean-Yves Thibaudet.

Joe Hisaishi, conductor 
Jean-Yves Thibaudet, piano 
Meredith Wohlgemuth, soprano

Joe HISAISHI Adagio for strings and harps
Maurice RAVEL Piano Concerto in G
HISAISHI DA·MA·SHI·E
HISAISHI Symphonic Suite from Princess Mononoke

The BSO gives this on their page: https://www.bso.org/events/july-18-boston-symphony-orch?performance=2026-07-18-20:00

Boston Symphony Orchestra Joe Hisaishi, conductor Jean-Yves Thibaudet, piano Meredith Wohlgemuth, sopranoJoe HISAISHI Adagio for 2 harps and strings  RAVEL Piano Concerto in G  Joe HISAISHI DA·MA·SHI·E  Joe HISAISHI Symphonic Suite from Princess Mononoke  

The arrows on the page lead to performer bios and program notes which could aid our listening. Still, I don't really know what to expect. It should be interesting.

B BSO — 2026/04/18

 This evening we get two second-tier staples sandwiching a sort of world premiere. Here's WCRB's synopsis: https://www.classicalwcrb.org/show/the-boston-symphony-orchestra/2026-01-08/malkki-the-jussens-and-a-bso-world-premiere

Saturday, April 18, 2026
8:00 PM

Dutch duo-pianists Lucas and Arthur Jussen perform a BSO-commissioned piece written for them by American composer and Grawemeyer Award-winner Andrew Norman. Finnish conductor Susanna Mälkki also leads the BSO in Rachmaninoff’s Symphonic Dances and Ravel’s beloved Mother Goose suite.

Susanna Mälkki, conductor
Lucas and Arthur Jussen, pianos

Maurice RAVEL Mother Goose Suite
Andrew NORMAN Split, for two pianos and orchestra (world premiere; BSO co-commission)
Sergei RACHMANINOFF Symphonic Dances, Op. 45

Learn more about the Boston Symphony Orchestra's 2025-2026 season on their site.

In a preview of the program, Susanna Mälkki describes the character and challenge of Andrew Norman's Split, why Rachmaninoff's Symphonic Dances is one of her favorite pieces, and what she looks for in building effective artistic relationships with orchestras.

INTERVIEW TRANSCRIPT (lightly edited for clarity):

Brian McCreath I'm Brian McCreath at Symphony Hall with Susanna Mälkki, who's back with the Boston Symp

It turns out Split was originally composed in a version for one piano over ten years ago. The composer has reworked itinto the two piano version which the BSO is premiering this week.

More information, including performer bios and program notes, are available at the BSO performance detail page, where we see the following:

Boston Symphony Orchestra Susanna Mälkki, conductor Lucas and Arthur Jussen, Pianos RAVEL Mother Goose Suite  Andrew NORMAN Split, for two pianos and orchestra (world premiere; BSO co-commission)       intermissionRACHMANINOFF Symphonic Dances  

Popular Dutch duo-pianists Lucas and Arthur Jussen return to Symphony Hall for a BSO-commissioned world premiere. This music was written especially for them by American composer Andrew Norman, winner of the prestigious Grawemeyer Award for his orchestral work Play. Maurice Ravel’s Mother Goose Suite brings the composer’s mastery of orchestral color to his fairy-tale suite, originally written for piano, four-hands. Closing the program is Sergei Rachmaninoff’s tour-de-force for orchestra, by turns powerfully energetic and meltingly lyrical: his Symphonic Dances, the composer’s final work.

So far I don't see any reviews in either the Globe or the Intelligencer.

I was at the Friday afternoon performance. The Ravel was fine but unexciting. The Jussen brothers were excellent. Unfortunately the music they and the orchestra had to play was mostly loud and unappealing (to me anyway). The brothers would have something nice and then the orchestra would crash in. A musician might see something worthwhile or admire the composer's technique, but it was lost on me. Maybe I'll like it better over the radio this evening. The Jussens certainly deserved the enthusiastic applause they got. I paid closer attention to the Stravinsky than I do when it's being played as part of the regular radio programming and functions nore as background music. So I noticed parts (mostly softer ones) which usually escape my attention. It's a pretty good piece if not up to the level of the greatest compositions of all time.

Bottom line: it's worth listeningg to the concert, especially if the Jussens give us an encore.

BSO/Classical New England — 2024/12/14

 This week's encore broadcast is from last March. Here's WCRB's description:

Saturday, December 14, 2024
8:00pm

Eminent English conductor Sir Mark Elder returns to Symphony Hall for the first time since 2011 to lead a program exploring whimsy, fantasy, and folklore. He leads the American premiere of Elena Langer’s The Dong with  the Luminous Nose, a setting of Edward Lear’s delightful “nonsense poem,” written for the BSO and the London Philharmonic Orchestra. The performance features BSO Principal Cellist Blaise Déjardin as soloist along with the Tanglewood Festival Chorus. Maurice Ravel’s Mother Goose began as a suite of children’s piano pieces, each illustrating an iconic fairytale, while Antonín Dvořák’s The Noonday Witch is based on a much darker Czech folktale. Czech composer Leoš Janáček’s energetically masterful Sinfonietta closes the program.

Sir Mark Elder, conductor 
Blaise Déjardin, cello 
Tanglewood Festival Chorus

Maurice RAVEL Mother Goose 
Elena LANGER The Dong with a Luminous Nose, for cello, chorus, and orchestra (American premiere; BSO co-commission)
Antonín DVOŘÁK The Noonday Witch
Leoš JANÁČEK Sinfonietta

This broadcast was originally broadcast on March 16, 2024, and is no longer available on demand.

Read Edward Lear's "The Dong with a Luminous Nose" at Poetry Foundation.

For a preview of the program with Sir Mark Elder, use the player above, and read the transcript below:

TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall with Sir Mark Elder, and you are back with the Boston Symphony for the first time in quite a while. But it's really wonderful to have you here

The BSO's own performance detail page gives the same overall description, but also has links to the program notes, which could prove useful:

Sir Mark Elder, conductor 
Blaise Déjardin, cello 
Tanglewood Festival Chorus 
 James Burton, conductor 

RAVEL Mother Goose (complete) 
Elena LANGER The Dong with a Luminous Nose, for cello, chorus, and orchestra (American premiere; BSO co-commission) Commissioned by the Boston Symphony Orchestra, Andris Nelsons, Music Director, through the generous support of the Arthur P. Contas Commissioning Fund.
Intermission
DVOŘÁK The Noonday Witch
JANÁČEK Sinfonietta

This week's performances by the Tanglewood Festival Chorus are supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Thursday evening's concert is supported by Patricia Romeo-Gilbert, in memory of Paul B. Gilbert.

Friday afternoon’s concert and soloist Blaise Déjardin are supported by the Elfers family.

Eminent English conductor Sir Mark Elder returns to Symphony Hall for the first time since 2011 to lead a program full of whimsy, fantasy, and folklore. Opening the program, Maurice Ravel’s Mother Goose ballet score began as a suite of children’s piano pieces, each movement illustrating an iconic tale. Next is the American premiere of Elena Langer’s The Dong with a Luminous Nose, a setting of Edward Lear’s delightful “nonsense poem” written for the BSO and the London Philharmonic Orchestra, which gave the first performance in March 2023 featuring BSO principal cello Blaise Déjardin as soloist with the Tanglewood Festival Chorus. Antonín Dvořák’s The Noonday Witch is based on a much darker Czech folktale. Czech composer Leoš Janáček’s energetic, masterful Sinfonietta closes the concert.

I wrote about it back then, a bit more favorably than I feel right not. I found the Ravel dull, although most peopple seem to enjoy it. The Langer piece was amusing at points and the music fits the text, but IMO it isn't music for the ages. The concert gets really good after intermission with an interesting piece by Dvořák and a good one by Janáček. In other words it could be interesting to hear.

Tanglewood — 2024/08/24-25

 Regrettably, I failed to alert you to the Friday evening Tanglewood concert. It began with the Chopin Piano Concerto No. 1, and concluded with Elgar's Enigma Variations. To my taste it may have been the best concert of the weekend. My Dad bought a record of the Chopin (Eduard Kilenyi as soloist), and I always liked it, especially the third movement; and the Enigma is enjoyable. I hope you found it on your own. If not it should become available "on demand" fairly soon.

This the the final week of BSO at Tanglewood. Here's what's still to come.

 I don't fiind anything on WCRB's website about this evening's concert. here's what the BSO says on their performance detail page:

Boston Symphony Orchestra 
Karina Canellakis, conductor 
James Ehnes, violin
Tanglewood Festival Chorus 
 James Burton, conductor

BEETHOVEN The Creatures of Prometheus Overture 
BRAHMS Schicksalslied
-Intermission-
CHAUSSON Poème, for violin and orchestra 
RAVEL Tzigane, for violin and orchestra
RAVEL Daphnis et Chloé, Suite No. 2

Tonight’s concert is generously supported by Rabbi Daniel Freelander and Rabbi Elyse Frishman, in memory of their daughter Devra Freelander.

This evening's performance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Unfortunately, Leonidas Kavakos has had to withdraw from this performance due to a shoulder injury sustained earlier this month, from which a full and complete recovery is anticipated. We are very fortunate that James Ehnes is able to step in on short notice. The program remains unchanged. 

Sat, Aug 24, 2024, 8:00pm EDT

Correction: With another approach, I was able to find the following from WCRB:

Saturday, August 24 , 2024
8:00 PM

Conductor Karina Canellakis returns to Tanglewood to lead the BSO and the Tanglewood Festival Chorus in rhapsodic music by Brahms and Ravel, and violinist James Ehnes is the soloist in Chausson’s “Poème” and Ravel’s “Tzigane.”

Boston Symphony Orchestra
Karina Canellakis, conductor
James Ehnes, violin
Tanglewood Festival Chorus,
James Burton, conductor

Ludwig van BEETHOVEN Overture to The Creatures of Prometheus
Johannes BRAHMS Schiksalslied
Ernest CHAUSSON Poème
Maurice RAVEL Tzigane
RAVEL Daphnis et Chloé, Suite No. 2

If you want to know more about any of those pieces, check out the program notes at the BSO site. IMO none of this is exactly must listen music, but nothing unpleasant either.

The season finale has included the Beethoven 9th for a number of years. This year we get apiece by Bruckner to open the concert. WCRB specifies:

Sunday, August 25, 2024
7:00 PM

In a time-honored Tanglewood tradition, soloists Ambur Braid, Jess Dandy, Elgan Llŷr Thomas, and Davóne Tines join the Boston Symphony Orchestra and the Tanglewood Festival Chorus in Beethoven’s Ninth Symphony and its “Ode to Joy,” conducted by Ludovic Morlot. The concert opens with a sacred motet by Bruckner, titled “Behold a great priest.”

Boston Symphony Orchestra
Ludovic Morlot, conductor
Ambur Braid, soprano
Jess Dandy, contralto
Elgan Llŷr Thomas, tenor
Davóne Tines, bass
Tanglewood Festival Chorus
James Burton, conductor

Anton BRUCKNER Ecce sacerdos magnus
Ludwig van BEETHOVEN Symphony No. 9

Again, the BSO performance detail page offers more information, including links to program notes:

Boston Symphony Orchestra
Ludovic Morlot, conductor (Beethoven)
James Burton, conductor (Bruckner)
Ambur Braid, soprano 
Jess Dandy, contralto 
Elgan Llŷr Thomas, tenor
Davone Tines, bass-baritone
Tanglewood Festival Chorus

BRUCKNER Ecce sacerdos magnus
BEETHOVEN Symphony No. 9

This evening's performance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Regrettably, Hannu Lintu has canceled his Tanglewood appearances, after recently sustaining a leg injury. We are grateful that Ludovic Morlot is available at short notice to conduct the BSO’s performance of Beethoven’s Symphony No. 9.

Sun, Aug 25, 2024

When I was a boy, "Ecce sacerdos magnus (Behold a high priest" was used to accompany the entrance of a bishop into a church and as the opening chant of a Mass honoring a saint who was a bishop. It's unfortunate that the program note doesn't give the text, but this article gives it. Here's a wki article about the piece. It should be interesting. I presume all are at least generally aware of the Beethoven.

As the Tanglewood season ends, there's still good listening this weekend.

BSO — 2024/03/16

This week the BSO gives us three pieces for or about children and rounds the evening off with a lively and pleasantpice that's about 100 years old. Here's their description:

Saturday, March 16, 2024
8:00pm

Encore broadcast on Monday, March 25

Eminent English conductor Sir Mark Elder returns to Symphony Hall for the first time since 2011 to lead a program exploring whimsy, fantasy, and folklore. He leads the American premiere of Elena Langer’s The Dong with  the Luminous Nose, a setting of Edward Lear’s delightful “nonsense poem,” written for the BSO and the London Philharmonic Orchestra. The performance features BSO Principal Cellist Blaise Déjardin as soloist along with the Tanglewood Festival Chorus. Maurice Ravel’s Mother Goose began as a suite of children’s piano pieces, each illustrating an iconic fairytale, while Antonín Dvořák’s The Noonday Witch is based on a much darker Czech folktale. Czech composer Leoš Janáček’s energetically masterful Sinfonietta closes the program.

Sir Mark Elder, conductor 
Blaise Déjardin, cello 
Tanglewood Festival Chorus

Maurice RAVEL Mother Goose 
Elena LANGER The Dong with a Luminous Nose, for cello, chorus, and orchestra (American premiere; BSO co-commission)
Antonín DVOŘÁK The Noonday Witch
Leoš JANÁČEK Sinfonietta

Read Edward Lear's "The Dong with a Luminous Nose" at Poetry Foundation. [Emphasis added.]

For a preview of the program with Sir Mark Elder, use the player above, and read the transcript below:

TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall with Sir Mark Elder, and you are back with the Boston Symphony 

I recommend going to the BSO performance detail page and finding the link to the program notes, especially for the Langer and Dvořák pieces. Here's their overview of the show:

Sir Mark Elder, conductor 
Blaise Déjardin, cello 
Tanglewood Festival Chorus 
 James Burton, conductor 

RAVEL Mother Goose (complete) 
Elena LANGER The Dong with a Luminous Nose, for cello, chorus, and orchestra (American premiere; BSO co-commission) Commissioned by the Boston Symphony Orchestra, Andris Nelsons, Music Director, through the generous support of the Arthur P. Contas Commissioning Fund.
Intermission
DVOŘÁK The Noonday Witch 
JANÁČEK Sinfonietta

[…]

Eminent English conductor Sir Mark Elder returns to Symphony Hall for the first time since 2011 to lead a program full of whimsy, fantasy, and folklore. Opening the program, Maurice Ravel’s Mother Goose ballet score began as a suite of children’s piano pieces, each movement illustrating an iconic tale. Next is the American premiere of Elena Langer’s The Dong with a Luminous Nose, a setting of Edward Lear’s delightful “nonsense poem” written for the BSO and the London Philharmonic Orchestra, which gave the first performance in March 2023 featuring BSO principal cello Blaise Déjardin as soloist with the Tanglewood Festival Chorus. Antonín Dvořák’s The Noonday Witch is based on a much darker Czech folktale. Czech composer Leoš Janáček’s energetic, masterful Sinfonietta closes the concert.

The brief review in the Intelligencer is more descriptive than evaluative and contains a good description of the Langer piece. The Globe doesn't seem to have reviewed it yet.

I was there on Friday afternoon. I found the Ravel dull for the most part, but most people seem to like it. The Langer was amusing in the way the music, raucous at times and more gentle at times supported the taxt. The cellist did very well with his solos. After intermission, the Dvořák was interesting. Again, I recommend using the BSO's prograsm notes to get an idea of the action which the music represents. The Janáček is lively and fun, IMO.

All in all, it isn't must listen music, but I don't regret spending the time listening to it, and I'm looking forward to hearing it again this evening and on the 25th. Enjoy.