On Palm Sunday there was a remarkable Boston Conservatory concert of music by Jan Swafford. Swafford is widely known for his books on Charles Ives and Brahms, and The Vintage Guide to Classical Music. He is known locally also for many fine program notes and pre-concert talks for the Boston Symphony Orchestra. Swafford has been writing music going back to the 1970s and has had performances in many places and won awards for this work. The recent concert centered around the cello, magnificently played—even heroically, considering the amount and intensity of the material—by Emmanuel Feldman, who was joined variously by his excellent colleagues in the Omega Trio, violinist Eva Gruesser and pianist George Sebastian Lopez
The winter music season in Boston made a strong beginning with James Levine leading the Boston Symphony Orchestra in what turned out to be his last set of concerts with the orchestra for the year—and perhaps forever. Levine’s spring BSO concerts were cancelled for health reasons, and, of course he has resigned as Music Director. […] The notion is creeping up on one that Boston has become a remarkably good place for opera. —How about some Wagner?
In October 1803, Beethoven’s student Ferdinand Ries wrote a publisher about the new Third Symphony: “In his own opinion it is the greatest work he has yet written. Beethoven played it for me recently, and I believe that heaven and earth will tremble when it is performed. He is very much inclined to dedicate it to Bonaparte.” Ries was speaking metaphorically, and, metaphorically, he was right. In the world of music, the Third did shake heaven and earth. As the longest, most complex, most intense, most personal symphony ever written, it met the inevitable incomprehension in its first performances, but within two years some critics were calling it the greatest symphony ever written and a model for the future.