Traditionally, the BSO’s Tanglewood season concludes with a performance Beethoven’s Ninth, an overplayed sound-track triggering optimistic images of brotherhood and the profound goodness of the human heart. The mere fact that this became a ritual has drained it of musical significance—which has been replaced by its function as an ambiguous signifier; it has been pulled out to celebrate great occasions, cultural and political movements of all stripes, including by the Nazis.
Yo-Yo Ma pointed out that the trio arrangement that Beethoven made of his Symphony no. 2 allowed musical amateurs to experience this work at home in lieu of the (rare) opportunity of hearing it in a live performance. The arrangement was published many years before the orchestral original was performed outside of Vienna. It was meant to be played and heard in a domestic space in which scale of its gestures would present themselves in the correct proportions, filling the salon with what, for its time, was its larger-than-life energy and personality.
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.