Opening on September 22n/a with Holt’s vision of our orbiting solar system, the Boston Symphony Orchestra begins a season of vibrancy and variety. Eighteen works by living composers, including seven world and US premieres, will share the stage with a concert conducted by Nelsons from Wagner’s Act III Tannhauser, the sequel to the Shostakovich cycle and works from the signature repertoire of Bach, Beethoven, Bernstein, Brahms, Mahler, Rachmaninoff, Sibelius, Stravinsky and Tchaikovsky. Click HERE for the full schedule. Subscription renewals are open now and general ticketing will begin on August 8and.
Mark DeVoto opined: “The BSO’s 142n/a the season includes much to admire and look forward to with pleasure: A number of new works by young and up-and-coming composers, including even a few Americans; many young guest chefs; a relatively low quotient of tired war horses (Sibelius 5, Strauss AlpensymphonyEnescu Rumanian 1), and some long-neglected but beloved great war horses (planets, Rachmaninoff 2 – good to see these fellows listed again). BSO did Tchaikovsky for the last time Romeo and Juliet, a piece that I ridiculed as bad taste in my inexperienced youth, but now recognize as a work of inspired genius, at Symphony Hall in 2016 and Tanglewood in 2018 Over the years it has evolved into the must-have Pops status. Unexpected and rarely heard major pieces are also planned: Mozart’s Piano Concerto in B flat major, K. 456, which I heard with delight 30 years ago at Symphony Hall (Orpheus with Radu Lupu); The Serenade for violin and orchestra by Leonard Bernstein, a piece much more precious than the dull Chichester Psalms with whom he shares the program; Mahler’s Sixth Symphony (an entire concert!), which the BSO actually recorded in 1966 with Leinsdorf, and surprisingly; by Bartok miraculous tangerine Suite, of unparalleled orchestral brilliance. 1947 by Stravinsky Petrushka (only a connoisseur recognizes it as orchestrally inferior to the original 1911 version) and Persephone, which aesthetically is not to the taste of all Stravinskyans. We’re getting a bit too much of Shostakovich, as usual, but that’s one of Andris Nelsons’ current fixations and we have to give in to him; at least we get both piano concertos on one gig. If Rachmaninoff seems too heavily represented with three works, at least we’ll hear the Symphonic Dances, his last composition (and IMHO his best — remember me to tell you how that sums up his achievement). A whole evening of Wagner Tannhauser! And a tribute to Lili Boulanger with her charming Of a spring morning; although it shouldn’t be about anyone else, it also makes me happy because I was president, on and off, for 40 years of the ailing Lili Boulanger Memorial Fund, Inc., which promoted her legacy . So what about the low points of the season? Well, Khachaturian’s Piano Concerto is pretty bad, as is Symphony no. 3; and I wish the direction would include more American classics, like works by Copland or Piston that were played throughout their lifetime. Guess you can consider Bloch Schelomo an American classic; I remember when Samuel Mayes played it at Tanglewood in the summer of 1959 when Bloch died, so it will be nice to hear the “voice that cries out in the desert” again, like many others than us hear every day. ”
The BSO believes that music can give a deeper understanding of our common humanity. Voice of Loss, Judgment and Hopea three-week festival, March 3-18, will explore stories of perseverance and justice in society with powerful works by American composers: Julia Wolfit is His historywhich speaks extensively of the ongoing struggle for women’s rights; Anthony Davis‘ haunting concerto for clarinet, You have the right to remain silentwith soloist Anthony McGill, on the emotional consequences of experiences with law enforcement; and Uri Cainit is The Passion of Octavius Catto, which looks back on the life of the Philadelphia civil rights activist. The Tanglewood Learning Institute (TLI) will present a program including guest speakers, panel discussions and chamber music concerts that encourage dialogue on social change by expanding on the topics covered by the works presented at the festival. Full details will be announced later.
Musical perspectives on the tragedies of war and conflict, including Osvaldo Golijovit is fall out of time, Goreckiit is Symphony of Sorrowful Songs, Ella Milch-Sheriffit is The Eternal Strangerand Shostakovichit is Symphony No. 13, Babi Ya will constitute another intense thematic axis.
Andris Nelsons “… looks forward to touching hearts and revealing the many stories and emotions that bring us together as a human family. We welcome an extraordinary array of composers and artists who will share their unique musical perspectives with the orchestra and our audience. Gail Samuel, CEO, adds: “Music has a profound capacity to testify.