Friday, December 9, 2011
By Brian McCreath | Wednesday, May 4, 2011
The Berliner Philharmoniker is an orchestra that’s regularly referred to as the Best in the World. Now, the idea of judging orchestras is, to me, nonsensical. Once we’re talking about a certain level of highly trained musicians with a substantial track record of performances and recordings, whether those musicians are in London, Chicago, Tokyo, or Boston, we can be sure that we’re past technical challenges of pulling off a performance and into the realm of hearing some sort of creation of an artistic vision.
That said, my experience is that there really is something special about the Berlin Philharmonic. It’s partly based on history, but when you see the orchestra in concert (whether in person or via their superb Digital Concert Hall), you’ll see that tradition and legacy are only a small part of the picture. It’s a young orchestra, with dynamic players from in every position.
You can learn quite a bit more about the orchestra and the reasons behind its consistently terrific performances in a recent blog post by New England Conservatory President Tony Woodcock.
One aspect of the Berlin Philharmonic I think we in Boston can relate to is the orchestra’s relationship to its concert hall. A great concert hall isn’t necessarily required to cultivate a great orchestra (just look at the histories of the major orchestras in Chicago, Philadelphia, and London, just as a start), but it can really help. Symphony Hall in Boston very directly shapes the particularly gorgeous sounds of the Boston Symphony Orchestra, and so it is in Berlin. The Philharmonie has allowed the Berlin Philharmonic to work regularly in a space that encourages in its musicians that subtle form of non-verbal, chamber-music-like communication that’s invariably part of the equation when it comes to great orchestra.
It wasn’t always the case. When Hans Scharoun’s modernist masterpiece first opened, replacing after many years a hall destroyed in World War II (left), the Philharmonie was, if not an acoustical disaster, at least a great disappointment. But in a rare instance of a bad-to-mediocre hall being transformed into an absolutely superb one, modifications were made over the years to create one of the great concert halls of the world.
What distinguishes the Philharmonie from other amazing concert halls like our Symphony Hall and the vaunted Musikverein in Vienna is the relationship of the audience. Intentionally built to bring to the audience a more direct, visceral, connected experience, the stage is set at the bottom of a bowl, with the audience surrounding it. In a series of four concerts I attended a few years ago, I found that the experience really is remarkable. And yet, amazingly, in the four places I sat in the hall, the acoustic was even, blended, and true.
Beyond the experience of hearing music in the hall, I also found the architecture of the building itself to be inspiring. To once again draw comparison to Symphony Hall, walking into the lobby of the building takes you very definitively to a different time. But while Symphony Hall takes you to the early 20th century ambition and optimism of Boston, the Philharmonie transports you to that very troubled time of a divided Berlin in the early 1960’s.
It’s an era of architecture that hasn’t worn well overall, in my opinion, but like so much of Berlin, the building tells an important story, and one that connects to what the Philharmonic has been and is now to Berlin, Germany, and the world. And in that sense, it's architecture that's beautiful and exciting.
If you’d like to share your experience of visiting the Philharmonie or hearing the Philharmonic, feel free to add a comment below.
(images via Wikimedia Commons)
Friday, October 15, 2010
Wednesday, November 17, 2010
By Jared Bowen | Friday, September 30, 2011
Oct. 1, 2011
BOSTON — The musical strains you hear from Symphony Hall beginning this week could easily echo the strains of relief. The post James Levine era has begun. No more fretting over the maestro's sudden cancellations. No more slumping ticket sales. No more hits to morale says Boston Symphony Orchestra Managing Director Mark Volpe.
"In terms of the orchestra can you imagine rehearsal, rehearsing four to five times a week not knowing whether [Levine's] going to make it, not knowing what condition he's going to be in," Volpe said. "And also, not to be melodramatic, but there were times when it was clear he was suffering."
To be clear, the BSO maintains great sympathy for Levine who ended his tenure this year after a series of health crises forced him to cancel nearly a fifth of his concerts during his seven years in Boston. "He was an important figure and the first several years were quite exciting," Volpe said. "And we always knew health was a risk and I don't think anyone anticipated, especially Jim, the health situation would become so central to our relationship."
But now the BSO is ready to move on — to find its 15th Music Director in the organization's 130-year history. It's a process that could take years, although Volpe won't commit to a timeframe. "The reality is there are people we haven't seen ever, a few conductors are coming to make their debuts with the Boston Symphony and a few conductors we haven't seen in many, many years — 15, 20 years that are coming back. So I think people should be patient," Volpe revealed.
Where he is more explicit is in outlining the criteria for Levine's replacement. Asked what he's looking for, "I think first and foremost a great, great conductor," Volpe answered. "A great artist and someone who can be, forgive the presumptuous dimension of this statement, but the moral force for music in Boston and beyond…We want someone to make Boston their primary address."
In the meantime the BSO has filled this season with star conductors and performers like renowned German violinist Anne-Sophie Mutter. To open the season, Mutter is assuming the double role of performer and conductor. Post-Levine, the orchestra is very strong she said. "Every group, the first fiddle, the second, the cellis, the violas, wonderful oboe and horn and flute playing. Really tremendous joy and of course perfect playing."
Over the course of her two performances, Mutter will perform all five Mozart violin concerti — pieces for which she has deep affection. "It's the simplicity of his music, the beauty and his depth of soul which shines through even in very early pieces where there's a sudden modulation from a major key into a minor and it almost breaks your heart," she said.
Sunday, September 11, 2011
The world premiere of Illuminessence: prayers for peace, an interfaith oratorio by Silvio Amato (left), highlights the concert conducted by Benjamin Zander. The NEC Youth Philharmonic Orchestra with chorus and vocal soloists perform the piece, commissioned by the Vatican and which touches on the commonality of human aspiration and the universal spiritual impulse as expressed in the prayers of Christianity, Judaism, and Islam, along with other works.
To hear the concert, click on "Listen" above.
Benjamin Roe talks with composer Silvio Amato:
On the program:
Key: The Star-Spangled Banner
Barber: Adagio for Strings
Massenet: "Meditation" from Thaïs with violin soloist Yuki Beppu (NEC Preparatory School student)
Amato: Illuminessence: prayers for peace
chorus composed of singers from:
NEC Youth Chorale, Jonathan Richter, director
Young Men’s and Young Women’s Choruses from the
Handel & Haydn Society Vocal Apprenticeship Program,
Joseph Stillitano and Alyson Greer, directors
Kirsten Scott '08 Prep, soprano
Cristina Bakhoum '12 G.D., mezzo-soprano
Michael Kuhn, '12 M.M., tenor
Beethoven: "Ode to Joy" from Symphony No. 9
with chorus and soloists