All of the performers at the Tanglewood 75th Anniversary Concert take a bow after the finale. Photo Hilary Scott.

Tanglewood 75th Anniversary Celebration in the Music Shed, a Review

In this special version of the popular annual “Tanglewood on Parade” concert, the 75th anniversary of the festival as we know it (more or less) was duly celebrated. On August 5, 1937, the Boston Symphony Orchestra performed an all-Beethoven concert under Music Director Serge Koussevitzky. (I have already mentioned this in my review of the commemorative repreise of the same program on July 6.) This was the first concert of the Berkshire Symphonic Festival, as it was then known, both with the Boston Symphony and on the same property, Tanglewood, which has been the home of the orchestra ever since.

The Boston Symphony Orchestra’s 2011-12 Season Schedule and Preview

Mark Volpe and his organization pulled off an impressive feat in creating this season at such short notice. Former Music Director James Levine submitted his resignation only after most symphony orchestras, including the BSO, have established their programming for the next season and published it to waiting subscribers. Add to that the need to corral a feasible number of potential candidates for the open position of Music Director. The Boston Symphony’s 2011-12 is not only solid and nutritious, it is even rather exciting—apart from the added piquancy of the search. The fall will be mainly given over to guest conductors who have worked with the BSO for many years, or at least a few times in the past. The serious contenders for the permanent position will begin later on.

Johannes Brahms, Ein deutsches Requiem, BSO, Levine, Saturday, September 27, 2008, 8:00 PM

In 1865 Johannes Brahms set to work on his A German Requiem, following the death his mother, Christine Brahms, who died in February of that year. Formally, it is his most original work—later his genius found a secure place in traditional forms, above all the symphony. Before expanding on that, I should take Brahms’ example in remembering my own teachers, especially since one of them once had a principle which has some oblique relevance to A German Requiem, or at least to my own experience of it.

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