BSO/Classical New England — 2023/10/28

 The BSO isn't at Symphony Hall this week, so WCRB is giving us an "encore broadcast" of a concert from last April. Herewith the particulars as they give them:

Saturday, October 28th, 2023
8:00pm

In an encore broadcast, BSO Assistant Conductor Earl Lee conducts Unsuk Chin’s powerful tribute to Beethoven, subito con forza, and Robert Schumann’s Symphony No. 2, as well as Mozart’s brooding Piano Concerto No. 20 featuring soloist Eric Lu in his Boston Symphony debut.

Earl Lee, conductor
Eric Lu, piano

Unsuk CHIN subito con forza
MOZART Piano Concerto No. 20, K. 466
Robert SCHUMANN Symphony No. 2

This concert was originally broadcasted on April 8th, 2023 is no longer available on demand.

Hear a preview with conductor Earl Lee using the audio player above, and read the transcript below.

TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall with Earl Lee, Boston Symphony Assistant Conductor. Earl,

For whatever reason, I failed to post about it back in April. Fortunately, the BSO performance detail page for the concert is still available, with active links to the program notes and the following general blurb:

BSO Assistant Conductor Earl Lee, making his full-program Symphony Hall debut, is joined by acclaimed young Chinese American pianist Eric Lu for Wolfgang Mozart’s passionate, stormy D minor piano concerto. The title of South Korean-born composer Unsuk Chin’s brief, exciting concert opener translates as "suddenly, with power." Composed during one of his periods of chronic depression, Robert Schumann’s Second Symphony is nevertheless wonderfully affirmative and optimistic in character.

Eric Lu’s performance Friday afternoon is supported by the May and Dan Pierce Guest Artist Fund.

---

Earl Lee, conductor
Eric Lu, piano

Unsuk CHIN subito con forza
MOZART Piano Concerto No. 20 in D minor, K.466
Intermission
SCHUMANN Symphony No. 2

The review in the Globe is favorable; I can't find one in the Intelligencer.

It seems that if this isn't quite up to the level of "must listen," you could certainly do worse.

BSO/Classical New England — 2023/06/24

 This week's encore broadcast is also from last summer at Tanglewood. WCRB gives us the basics:

Saturday, June 24, 2023
8:00 PM

Legendary violinist Itzhak Perlman is the soloist in Max Bruch’s Violin Concerto, and Dima Slobodeniouk conducts the Boston Symphony Orchestra in Brahms’s Symphony No. 1 and Unsuk Chin’s “subito con forza.”

Dima Slobodeniouk, conductor 
Itzhak Perlman, violin

Unsuk CHIN subito con forza 
Max BRUCH Violin Concerto in G minor
Johannes BRAHMS Symphony No. 1

This concert was originally broadcast on August 21, 2022 and is no longer available on demand.

Further information is available via links on the BSO's performance detail page.

There is a favorable review in the Boston Musical Intelligencer. I can't find one in the Globe.

Worth listening to.

T Tanglewood — 2022/08/20-21

 Tonight the BSO celebrates John Williams' 90th Birthday and tomorrow we get a new piece and a couple of 19th Century staples of the repertory.

Saturday, Auguat 20, 2022. WCRB gives us the basics:

Saturday, August 20, 2022
8:00 PM

Ken-David Masur and the Boston Symphony Orchestra celebrate the iconic film composer's 90th birthday, joined by a stellar cast of soloists including Yo-Yo Ma, Branford Marsalis, and James Taylor, tonight at 8!

Boston Symphony Orchestra
Ken-David Masur, conductor 
Martin Grubinger, percussion
Yo-Yo Ma, cello
Branford Marsalis, saxophone
Eric Revis, bass
James Taylor, vocalist
Jessica Zhou, harp

ALL John WILLIAMS program:

Sound the Bells!
Tributes (For Seiji)
Highwood’s Ghost
Pickin’ from Three Pieces for Solo Cello
JUST DOWN WEST STREET...on the left
To Lenny, To Lenny (For New York)
Escapades from Catch Me If You Can
Presenting James Taylor
"Throne Room" & Finale from Star Wars: A New Hope

The BSO performance detail page has nothing about this concert. So just relax and enjoy, with the comments of Ron Della Chiesa to add some information.

Sunday, August 21, 2022. Again we turn to WCRB for the essentials:

Sunday, August 21, 2022
7:00 PM (delayed broadcast of 2:30 PM concert)

Legendary violinist Itzhak Perlman is the soloist in Max Bruch’s Violin Concerto, and Dima Slobodeniouk conducts the Boston Symphony Orchestra in Brahms’s Symphony No. 1 and Unsuk Chin’s “subito con forza.”

Dima Slobodeniouk, conductor 
Itzhak Perlman, violin

Unsuk CHIN subito con forza 
Max BRUCH Violin Concerto in G minor
Johannes BRAHMS Symphony No. 1

For this one we do have a performance detail page from the BSO. There we find a link to the program notes. There is not much description of "subito, con forza," but maybe you can get some idea. Well it's not long, so you might as well llisten, to be sure you get the whole violin concerto. Notes on that and the Brahms symphony are more extensive.

Again, I'll be at my high school class's 80th birthday celebration this evening, but I'm looking forward to the Sunday broadcast at 7:00. I hope you'll enjoy both.

BSO — 2022/03/05

 This evening we get an unfamiliar piece, a new piece, and a warhorse which is a "signature piece" of the BSO, Here'a the WCRB synopsis:

Saturday, March 5, and Monday, March 14, 2022
8:00 PM

Tonight at 8pm, the Greek violinist joins the Boston Symphony as the soloist in the American premiere of Unsuk Chin’s "Shards of Silence" Violin Concerto, and Andris Nelsons conducts Ives and Berlioz’s otherworldly "Symphonie fantastique."

Andris Nelsons, conductor
Leonidas Kavakos, violin

IVES The Unanswered Question
Unsuk CHIN Violin Concerto No. 2, Scherben der Stille (Shards of Silence) (American premiere; BSO co-commission)
BERLIOZ Symphonie fantastique

Hear a preview of Unsuk Chin's Violin Concerto No. 2 with Leonidas Kavakos using the player above (transcript below).

Brian McCreath I'm Brian McCreath at Symphony Hall with Leonidas Kavakos, who's back in Boston for an American premiere, a concerto that was written just for you. Leonidas, thank you for spending a little bit of time with me today. I appreciate it.

As usual, you can read or listen to the interview at the WCRB page.

The BSO's program page has links to the program notes as well as the following summary:

Music Director Andris Nelsons is joined by one of his frequent collaborators, violinist Leonidas Kavakos, for the American premiere of celebrated Korean-German composer Unsuk Chin’s Violin Concerto No. 2, Scherben der Stille(“Shards of Silence”). Co-commissioned for Mr. Kavakos by the BSO, Gewandhaus Orchester Leipzig, and the London Symphony Orchestra, the concerto receives its U.S. premiere in March 2022 at Symphony Hall. Chin won the prestigious Grawemeyer Award in 2004 for her first violin concerto. A staple of the BSO’s repertoire for generations, Hector Berlioz’s Symphonie fantastique virtually defined the emotional intensity of musical Romanticism while also vastly expanding orchestral virtuosity. Opening the program is the American composer Charles Ives’s mysterious, innovative tone poem The Unanswered Question (1908), which features a striking solo trumpet part.

There is a tepid review in the Intelligencer. I can't find a review in the Globe.

I always like to give new pieces a chance. My brother will call from Tokyo at 8:00 this evening, so I'll miss the live broadcast this evening, but I'll listen to the rebroadcast on March 14. I'm also looking forward to hearing "The Unanswered Question." Ives is definitely idiosyncratic. I'm confident almost everybody will like the Berlioz after intermission.

8:00 p.m., Boston Time, this evening and March 24.

BSO/Classical New England — 2020/11/07

 This week's encore broadcast is the concert originally performed five years ago — November 7, 2015 — one week after the one we heard last week. Maybe this will be the pattern for a while.

WCRB summarizes the concert as follows:

Saturday at 8pm in an encore broadcast of the Boston Symphony Orchestra, Ken-David Masur leads Schumann's Symphony No. 3, the "Rhenish," as well as the American premiere of Unsuk Chin's Mannequin and Liszt's Totentanz, with piano soloist Louie Lortie.

(Some emphasis added.)

WCRB lists the pieces is reverse order of performance. Read the transcript of the interview with the conductor if/when you have time.

And here, suitably edited, is what I wrote five years ago:

This week we have one work that is considered standard repertory but one I don't often hear, Liszt's Totentanz, one piece getting its American premiere in these concerts, Mannequin by Unsuk Chin, and an old favorite, Symphony No. 3, "Rhenish," by Schumann. Indulging their penchant for describing the pieces in an order other than that in which they'll be performed, the writers of the BSO program description page,describe the concert as follows:

BSO Assistant Conductor Ken-David Masur leads the second BSO co-commission of the season, Korean composer Unsuk Chin's Mannequin in its American premiere. Mannequin was inspired by a short story by the great 19th-century German music critic and fantasist E.T.A. Hoffmann. Opening the program is Franz Lizst's dark and virtuosic Totentanz, played by French pianist Louis Lortie. Totentanz is considered among the most difficult pieces in the standard repertoire for piano and orchestra. Closing these concerts is Robert Schumann's innovatively structured paean to the Rhine River, the composer's Symphony No. 3.

Join the conversation online by using #BSOLiszt for this concert series or #BSO1516 on your social networks to discover the excitement of the season and connect with one another!

(Some emphasis added.)

…

Reviews were mixed. The Globe's was generally favorable, but found Maestro Masur's conducting in the older pieces unexciting. The Boston Musical Intelligencer really liked the "Totentanz," and found no fault with the conductor there, while joining the Globe in disappointment with his leadership in the Schumann. As for "Mannequin," the reviewer found little difference between the four movements.

I was there on Thursday and found the Liszt spectacular. The Chin piece was suitable as a depiction of a frightened frame of mind, but apart from the music-box-like elements in the first movement, there didn't seem to be much difference between the four — at least not at first hearing. I'll listen tonight over the radio and see if there's more distinction between the scenes. I wonder if the large variety of percussion, including some unconventional items, was really necessary. Still, since it was suitable as a depiction of a frightened mood, I applauded the composer enthusiastically. As for the Schumann, it's really enjoyable music to listen to, and I didn't find any fault with how it was conducted: I just liked hearing it.

So I think it worth your while to listen this evening, November 7, at 8:00, Boston Time (EST), … over the radio or internet streaming of WCRB. As you know if you've been following my posts on the BSO, WCRB also has a BSO page of their own. …

Anyway, I was glad to be at the concert, and I'm looking forward to hearing the first two pieces this evening before my kid brother's call from Tokyo ….  As is usually the case, I recommend listening to this one.

8:00 p.m., EST, WCRB.

BSO — 2015/11/05-10

This week we have one work that is considered standard repertory but one I don't often hear, Liszt's Totentanz, one piece getting its American premiere in these concerts, Mannequin by Unsuk Chin, and an old favorite, Symphony No. 3, "Rhenish," by Schumann. Indulging their penchant for describing the pieces in an order other than that in which they'll be performed, the writers of the BSO program description page, describe the concert as follows:

BSO Assistant Conductor Ken-David Masur leads the second BSO co-commission of the season, Korean composer Unsuk Chin's Mannequin in its American premiere. Mannequin was inspired by a short story by the great 19th-century German music critic and fantasist E.T.A. Hoffmann. Opening the program is Franz Lizst's dark and virtuosic Totentanz, played by French pianist Louis Lortie. Totentanz is considered among the most difficult pieces in the standard repertoire for piano and orchestra. Closing these concerts is Robert Schumann's innovatively structured paean to the Rhine River, the composer's Symphony No. 3.

Join the conversation online by using #BSOLiszt for this concert series or #BSO1516 on your social networks to discover the excitement of the season and connect with one another!

(Some emphasis added.)

As always, the performance detail page has links to program notes, audio previews, and performer bios (click on the thumbnail pictures), and — new this year — the BSO Media Center with its own podcasts and notes. The video excerpt from "Mannequin" gives a bit of the gentler portion of the piece, but it gives you some idea of what it's like. You get a bit more in the audio preview which follows the video.

Reviews were mixed. The Globe's was generally favorable, but found Maestro Masur's conducting in the older pieces unexciting. The Boston Musical Intelligencer really liked the "Totentanz," and found no fault with the conductor there, while joining the Globe in disappointment with his leadership in the Schumann. As for "Mannequin," the reviewer found little difference between the four movements.

I was there on Thursday and found the Liszt spectacular. The Chin piece was suitable as a depiction of a frightened frame of mind, but apart from the music-box-like elements in the first movement, there didn't seem to be much difference between the four — at least not at first hearing. I'll listen tonight over the radio and see if there's more distinction between the scenes. I wonder if the large variety of percussion, including some unconventional items, was really necessary. Still, since it was suitable as a depiction of a frightened mood, I applauded the composer enthusiastically. As for the Schumann, it's really enjoyable music to listen to, and I didn't find any fault with how it was conducted: I just liked hearing it.

So I think it worth your while to listen this evening, November 7, at 8:00, Boston Time (EST), and/or Monday, November 16, also at 8:00, over the radio or internet streaming of WCRB. As you know if you've been following my posts on the BSO, WCRB also has a BSO page of their own. This year, they embed their concert preview interview in a longer podcast called "The Answered Question." This week, the whole thing runs to 53 minutes. I haven't heard it yet, but somewhere it includes an interview with the conductor about the program — no doubt interesting, if you get a chance to hear it.

Anyway, I was glad to be at the concert, and I'm looking forward to hearing the first two pieces this evening before my kid brother's call from Tokyo and the "Rhenish" during the rebroadcast on the 16th. As is usually the case, I recommend listening to this one.

BSO — 2011/02/10-12

Sorry to be so late with this. It's been a busy several days. But I definitely recommend tonight's BSO concert. Here's what the website has to say.

Finnish conductor Susanna Mälkki returns to the BSO podium with a widely varied program, and is joined by German cellist Alban Gerhardt for the American premiere of the Korean-German composer Unsuk Chin’s Cello Concerto, written for Gerhardt. Gerhardt also plays Dvořák’s surpassingly melodic Silent Woods, an 1894 reworking of a movement from his 1883 piano suite From the Bohemian Woods. Haydn’s Symphony No. 59 in A major, nicknamed “Fire” has never been performed by the BSO. The Finnish composer Sibelius’s Symphony No. 5 is one of the composer’s best known, a majestic masterpiece completed in 1919.

The Globe reviewer liked it. I was there on Thursday, and I enjoyed it too. The piece is definitely modern, but to my ears it is also definitely musical. One thing that is really amazing is that the cellist plays it entirely from memory, and did so at the world premiere as well, after having studied it for about a month. He told us that during the pre-concert talk. He also said he got a little lost toward the end in that first performance. The cellist and composer agreed that the BSO plays it very well indeed, and the "lecturer" suggested that it might be partly because of their recent experience with the concerto for flute and oboe by Ligeti. Chin studied for a while under Ligeti, and there is a bit of similarity between the sound in tonight's concerto and that of Ligeti. I thought the other pieces went well also, so it's a concert well worth hearing IMO. Amazing that the BSO has never played the Haydn 59th Symphony before this week, which means that the entire first half of the concert is music that's new to them.

Usual time, usual stations.