Boston Symphony Orchestra

A Brace of Second Symphonies

Wednesday, December 1, 2010
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A Concerto With Movie DNA

By Brian McCreath   |   Wednesday, November 24, 2010
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Thursday, Dec. 2

A couple of nights ago, I was browsing around in the television listings and ran across the always irresistable Casablanca.  I'm not really a hard-core old movie fan, but I do like Golden Era Hollywood stuff enough to set aside a couple of hours when I run across something special.  And a lot of times that something special is greatly enhanced by a soundtrack by Erich Wolfgang Korngold.

Korngold spent his early years in the incredibly rich musical environment of early 20th century Vienna, where he was quickly recognized as a musical prodigy.  Like the rest of European civilization, his life took a completely unforeseen trajectory, eventually finding himself one of Hollywood's great film composers.  He never left behind a desire to be a composer for the concert stage, though, and in the 1930's he drew on his film work to create his Violin Concerto.  It's one of the great pieces of its type, and even though it was premiered in 1947, it's solidly (and beautifully!) Romantic in its language and aspect.  If you love historic, golden era Hollywood films, here's a quick rundown of the themes he used from his film soundtracks:

The first movement first uses a theme from Another Dawn, from 1937, and then goes to music from Juarez, a film released in 1939.

The second movement is built on a theme from Anthony Adverse, from 1936, and the final movement takes its theme from The Prince and the Pauper, released in 1937.

This afternoon, you can hear Nikolaj Znaider as the soloist in this gorgeous piece.

Znaider, who will be a guest soloist with the Boston Symphony Orchestra for our Dec. 4 broadcast, is a musician with real affinity for the Romantic, which you can hear in this performance and conversation from our Fraser Performance Studio:

(photo:  Matthias Creutziger)

Harbison and Schumann at the BSO

Thursday, November 25, 2010
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A Robust Cup of Mozart

By Brian McCreath   |   Wednesday, November 17, 2010
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There’s a traditional categorization of orchestras in this country, pretty roundly dismissed these days, of a Big Five. It probably made some sense a number of decades ago to consider the orchestras of New York, Chicago, Cleveland, Philadelphia, and Boston as a cut above the rest. The fact that San Francisco, Minneapolis, St. Louis, and Cincinnati, just to name a few, also had terrific ensembles with rich traditions didn’t seem to matter. As media and technology evolved, those Big Five were cemented in the public imagination as The Best of The Best.

There are excellent reasons to dismiss that notion of a Big Five. In addition to the current incarnations of each of the “other” orchestras mentioned above, those of Los Angeles, Atlanta, Dallas, and Baltimore have to be brought into the discussion of top rank orchestras, and I’m no doubt leaving out some others as well. And yet, there does remain a distinctive character to those Big Five orchestras.

The Chicago Symphony Orchestra can, when asked, still generate the knife-edged electricity instilled while Reiner and Solti were conducting, and the Cleveland Orchestra retains their ability to form the deep, rich, ultra-unified geometric shapes cultivated by Szell and Dohnányi. The New York Philharmonic’s brightness, power, and virtuosity have been refreshed with Alan Gilbert’s commitment to new music. And I expect that something of the lushness of the Philadelphia Orchestra’s historic sound remains, though it’s apparently been sublimated somewhat following the move from the Academy of Music to Verizon Hall a few years ago.

Which brings us to our own Boston Symphony Orchestra and the rejuvenation of its historic sound upon the arrival of James Levine. There’s a grace to that sound, an ethereal way of spinning notes and phrases out of thin air. And that’s all while maintaining the ability to generate enormous power and energy.  That was abundantly evident in last year's CD release of Ravel's Daphnis et Chloé, which showed off the orchestra's French heritage at its best.  But now we can see how that legacy plays out in an arguably more striking way in a new recording of Mozart symphonies.

Given the historically informed, ultra-chiseled, earthy, and thinly textured quality of many Mozart symphony performances of the last several years, the BSO sound in this arena might seem outdated and misplaced. But what’s thrilling about the BSO Levine recording of five of those symphonies is that it’s all there: the grace and the fullness, but also the precision and the unity.

You’ll hear this recording from time to time on 99.5 All Classical; it’s too irresistible to leave on a shelf for too long. Tune in today at around 2pm for Mozart’s Symphony No. 18, and enjoy a tradition that's fully alive.

All-Mozart with Zacharias at Tanglewood

Thursday, November 11, 2010
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Rachel Podger's Soulful Bach

Thursday, November 4, 2010
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Brian McCreath Brian McCreath


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