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.

BSO — 2025/03/08

 This evening we are treated the three unknown (to me, anyway) pieces. WCRB gives us the outline and an interview with the soloist:

Saturday, March 8, 2025
8:00 PM

South Korean conductor Eun Sun Kim makes her BSO debut conducting a trio of pieces exploring innovation within tradition. Inon Barnatan is the soloist in Bartók’s Third Piano Concerto, a love letter to his wife and his home country. The program opens with Anatoly Liadov’s The Enchanted Lake and concludes with Rachmaninoff’s Symphony No. 3.

Eun Sun Kim, conductor
Inon Barnatan, piano

Anatoly LIADOV The Enchanted Lake
Béla BARTÓK Piano Concerto No. 3
Sergei RACHMANINOFF Symphony No. 3

In an interview with BSO broadcast host Brian McCreath, Inon Barnatan describes the vitality and variety of Bartók's music, what fascinates him about the Third Piano Concerto, and his approach to his artistic leadership of the La Jolla Music Society's Summerfest. To listen, use the player above, and read the transcript below.

INTERVIEW TRANSCRIPT

Brian McCreath I'm Brian McCreath at Symphony Hall with Inon Barnatan, back with the Boston Symphony to perform

The BSO's program detail page furnishes a bit more of an introduction as well as links to the program notes, which could be interesting reading:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Eun Sun Kim, conductor
Inon Barnatan, piano

LIADOV The Enchanted Lake
BARTÓK Piano Concerto No. 3
-Intermission-
RACHMANINOFF Symphony No. 3

South Korean conductor Eun Sun Kim makes her BSO debut with a trio of pieces exploring innovation within tradition. Star pianist Inon Barnatan returns to Symphony Hall to take on one of Bartók’s final works, the Third Piano Concerto, a love letter to his wife and his home country. While living in poverty in New York having fled the onslaught of the Nazis into Hungary, Bartók’s creativity had stalled out, and his body was failing from a long illness. The concerto — not quite finished when he passed — is a more gentle and accessibly poetic work than his previous concertos, a summation of where Bartók’s style left him at the end of his life.

The Boston Globe doesn't seem to have provided a review. The reviewer in the Intelligencer had no complaints.

More I cannot tell you, but I'm looking forward to hearing this unfamiliar music.

BSO — 2025/03/01

 The Boston Symphony begins with a new piece and then gives us two infrequently peerformed pieces by Tchaikovsky. Here's what WCRB says about the concert:

8:00 PM

Acclaimed Mexican composer Gabriela Ortiz wrote her ballet score Revolución diamantina with Mexican writer Cristina Rivera Garza. The piece explores the powerful, feminist “Glitter Revolution” campaign in Mexico to highlight the epidemic of violence against women. Pyotr Ilyich Tchaikovsky wonderfully depicts love’s passion and an infernal whirlwind in his tone poem Francesca da Rimini, and Alban Gerhardt is soloist in the composer’s charming Variations on a Rococo Theme.

Giancarlo Guerrero, conductor
Alban Gerhardt, cello
The Crossing 
 Donald Nally, Artistic Director

Gabriela ORTIZ Revolución diamantina
Pyotr Ilyich TCHAIKOVSKY Variations on a Rococo Theme, for cello and orchestra
TCHAIKOVSKY Francesca da Rimini

In a preview of this concert, conductor Giancarlo Guerrero describes Gabriela Ortiz's Revolución diamantina, how Tchaikovksy's music relates to it, and what he's looking forward to in his new position as Music Director of the Sarasota Orchestra next season. Listen with the player above, and read the transcript below.

INTERVIEW TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall with Giancarlo Guerrero, who's back with the Boston Symphony, and another fascinating program, just like others that you have led in the past. Giancarlo, thanks a lot for your time today.

The orchestra's performance detail page expresses it a little differently:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Giancarlo Guerrero, conductor 
Alban Gerhardt, cello 
The Crossing 
 Donald Nally, Artistic Director

Gabriela ORTIZ Revolución diamantina
-Intermission-
TCHAIKOVSKY Variations on a Rococo Theme, for cello and orchestra
TCHAIKOVSKY Francesca da Rimini

Acclaimed Mexican composer Gabriela Ortiz, known for her vibrant instrumental colors and skill with dramatic narrative, wrote her ballet score Revolución diamantina with Mexican writer Cristina Rivera Garza. The recording of the piece won this year’s Grammy Awards for best classical compendium, best orchestral performance, and best contemporary classical composition. Ortiz explores the powerful Mexican feminist “Glitter Revolution” campaign to highlight an epidemic of violence against women. Pyotr Ilyich Tchaikovsky wonderfully depicts love’s passion and an infernal whirlwind in his tone poem Francesca da Rimini, inspired by a historic injustice recounted in Dante’s Inferno. Murdered by her husband, Francesca suffers in the second level of hell for her lustfulness, buffeted by an eternal storm. As a contrast, Alban Gerhardt is soloist in the composer’s charming Variations on a Rococo Theme.

This week, they're linking the program notes so you can "read all about it."

There is an approving review in the Globe  — except for the cellist, whom the reviewer finds "bland." On the other hand, the reviewer in the Intelligencer was satisfied with the cellist but a bit disappointed in the conductor's approach to Francesca da Rimini.

I'm a bit curious to hear "Revolución diamantina," but I'm not expecting to find it especially beautiful. I remember the spaghetti sauce commercial where the Italian lady approves of the store-bought sauce, saying "You gotta try new things." The Tchaikovsky should be pleasant. You can hear as much or as little as you want beginning at 8:00 p.m.* Boston Time this evening and on March 10 over WCRB.

*  or at 9:00, (which should be during intermission) if you choose to skip the "Revolución."

BSO — 2025/02/22

 Two Haydn symphonies bookend Stravinsky's Violin Concerto. We get some particulars from our friends at WCRB:

Saturday, February 22, 2025
8:00 PM

Isabelle Faust and Alan Gilbert return to Symphony Hall for Stravinsky’s bracing, wry Violin Concerto. Bracketing Stravinsky’s concerto are two Joseph Haydn works from early and late in his symphonic career.

Alan Gilbert, conductor
Isabelle Faust, violin

Joseph HAYDN Symphony No. 48, Marie Therese
Igor STRAVINSKY Violin Concerto
HAYDN Symphony No. 99

To hear a preview of the program with Alan Gilbert, use the player above, and read the transcript below.

INTERVIEW TRANSCRIPT

Brian McCreath I'm Brian McCreath at Symphony Hall with Alan Gilbert, 

A  slightly fuller description is availblle at the BSO performance detail page:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Alan Gilbert, conductor
Isabelle Faust, violin

HAYDN Symphony No. 48, Maria Theresia
STRAVINSKY Violin Concerto
-Intermission-
HAYDN Symphony No. 99

Isabelle Faust and Alan Gilbert return for Stravinsky’s bracing, wry Violin Concerto, a work at the core of his sparkling and witty neoclassical period. Bracketing Stravinsky’s concerto are two Joseph Haydn works from early and late in his symphonic career, during which he largely created the foundations for the 18th-century Viennese Classical era.

Regrettably, they do not link the program notes for the concert. I wonder what's wrong with the publications department. The links to performer bios are there.

The review in the Intelligencer is enthusiastic, especially about the Stravinsky. It seems the Globe couldn't be bothered to publish a review.

I've been staving off a cold, and I elected not to use my ticket for Friday afternoon, but you can't go wrong with a couple of Haydn symphonies, one of which is nicknamed for the empress of the Holy Roman Empire. So why not give a listen?

BSO — 2025/02/15

 WCRB says:

Saturday, February 15, 2025
8:00 PM

Herbert Blomstedt, one of the masters of the art of conducting for over seven decades, returns to lead the BSO in Franz Schubert's light-hearted, cheerful Symphony No. 6, as well as the First Symphony by Johannes Brahms.

Herbert Blomstedt, conductor

Franz SCHUBERT Symphony No. 6
Johannes BRAHMS Symphony No. 1

To hear Herbert Blomstedt in a conversation with GBH's Arun Rath, use the player above, and read the transcript below.

INTERVIEW TRANSCRIPT: 

Arun Rath This is GBH is All Things Considered. I'm Arun Rath. This shimmering, gorgeous music is Brahms's First Symphony, conducted by one of Brahms's most profound advocates. Herbert Blomstedt.

We get a fuller synopsis on the BSO's own performance detail page:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Herbert Blomstedt, conductor

SCHUBERT Symphony No. 6
-Intermission-
BRAHMS Symphony No. 1

Herbert Blomstedt, celebrating a seven-decade conducting career, returns to lead the BSO in Franz Schubert's light-hearted, cheerful Symphony No. 6, composed when he was 20 and notable as a satisfyingly classical work preceding his more searching later symphonies. Brahms was strongly influenced by Schubert but more so still by Beethoven, whose symphonic shadow apparently kept Brahms from completing his First Symphony until he was 43 years old. A prominent theme in its finale is a direct nod to Beethoven’s Ninth.

There are links on that page to a performer bio and the program notes for the two symphonies.

The Boston Musical Intelligencer has an enthusiastic review with a good picture of the maestro seated at the podium and applauding the musicians, which he did upon attibal and after each piece. Thus far nothing in the Globe.

I was there on Friday afternoon. Maestro Blomstedt conducted with economy of gesture, rarely raising his hNDS bove his shoulders. It was a little concerning to see that he required assistance to walk to and from the podium, but he needed no assistance to conduct: he never even turned a page on the open score in front of him. I definitely enjoyed what I heard.

This concert is highly recommended.

This was ready to go before 8:00, but I got distracted listeening to the  interview with Maestrro Blomstedt, and only realized in the middle of the Schubert that I hadn't posted it. I'll point out that you can hear it all when WCRB rebroadcasts the concert ar 8:00 p.m. Boston Time on February 24.