Reinhold Glière was fortunate to thrive under Soviet Communism. A long-limbed bardic style, featuring haunting melodies evoking the Russian ecclesiastical past, ruffled no political feathers. Nor did velvety explorations of Scriabin-influenced chromaticism. He was never purged. But Glière paid a price for fame in the world of democracy and commerce, it would seem. His greatest work, the 1912 Mahler-length Symphony No. 3, “Il’ya Muromets”, was deemed “too long” for the concert hall in America. To ensure its presentation, Leopold Stokowski persuaded the composer to pare it down drastically, and it was in this incomplete condition that the work took root in Philadelphia and in American ears.
Rome’s Santa Cecilia Orchestra, led by Sir Antonio Pappano, with guest soloist Martha Argerich, visited Symphony Hall on Sunday, October 22nd, performing at the rather unusual hour of 5 p.m. Going into the concert, I was overtaken by the suggestion of my title for this review. Thinking of Lorca and Hemingway, who between them immortalized the phrase “Five in the Afternoon,” in connection with bullfighting, I wondered if we concert goers were in for a strong flavor of doom, transcended through ritual and magnificence. No such thing. The concert was all beauty and vitality, though certainly with magnificence about it. This stunning event was the best orchestral concert of the fall in Boston.
Just call me Caesar!
Several weeks out and here I am, pulse quickened, still in thrall to legions from the Pines of Rome passing in review beneath my feet! The kaleidoscopic power of Respighi’s music hasn’t faded in my ears. Most patrons think of their car-keys within moments of a concert’s end. I’m still growling-out my version of “Catacombs” in the shower and banging kettledrum fists on the tiles three weeks later… But I was fortunate to sit a few rows above the trombones during the second half of the Vasily Petrenko’s recent stint with the San Francisco Symphony, and the acoustic perspective there provided an astonishingly powerful, sonically blended experience. So much for seating. But it says something about a conductor, too, when you are still marching about weeks later, barely able to contain within yourself the excitement you experienced!
It takes some imagination to knit together the diverse strands of a program in which four conductors lead four works that have no obvious connections to each other. The obvious point is to show the playing abilities of extraordinary young musicians who have had only a few weeks to form themselves into an orchestra. The programmers apparently selected pieces that would challenge even the most seasoned group. It is no surprise, then, that the character of the playing altered radically from one work and conductor to the next.
The Boston Symphony Orchestra opened this year’s Tanglewood season July 8th with an Italian program planned by James Levine—now resigned from Boston—and taken over pretty much intact by guest conductor Charles Dutoit. The program book declared the evening “La Prima di Tanglewood.” I would call the concert only half a success, but the best part was the second half, and the huge audience seemed very well pleased at the end.