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.
Ax and Ma chatted about their relationship over the years and the personal idiosyncrasies that sustain or annoy them both. To engage novice listeners, the Beethoven’s sonata became the subject of some slightly nerdy talk about the tonic-dominant-tonic arches that propelled the Beethoven’s sonata. Finally, somehow, they drifted to discussing chef Jacques Pépin’s freaky tolerance for seizing hot skillets its supposed relevance in interpreting the piano attacks in the scherzo.
Last month I had the pleasure of chatting with Inbal Segev, a young cellist from Israel, who has been making a mark in contemporary music and the classics. She was discovered by Isaac Stern as a high school student in Israel, and he arranged for her to come the United States to study at Yale and Juilliard. On this occasion we talked about her upcoming performance of Christopher Rouse’s cello concerto with the Albany Symphony under David Allan Miller and a very interesting—and successful—contemporary music festival sponsored by the Baltimore Symphony Orchestra, under the direction of Marin Alsop. It held its inaugural season just last summer.
The Saratoga Performing Arts Center presents the Philadelphia Orchestra’s three-week residency in tandem with an outstanding chamber music program directed by André-Michel Schub.
I regret that I could not attend a pre=season concert in June, the Buffalo Philharmonic under their Music Director JoAnn Falletta, who has garnered a great deal of respect in the musical world for her work with the orchestra, or last Thursday’s Philadelphia program, endowed with the catchy title, “The Lure of Paris,” in which Jean-Yves Thibaudet joined Stéphane Denève in a program of Bernstein, Gershwin, and Ravel. Many of the programs carry this popular appeal even further.
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.
Last November Mark Volpe, Managing Director of the Boston Symphony Orchestra, Anthony Fogg, Artistic Administrator, and members of the orchestra presented the 75th anniversary season of the festival in a low-key event, which, as relaxed and friendly as it was, brought back memories of old Boston in its restraint. No one attempted to hide his pride in this important anniversary of what is undoubtedly the key music festival in North America, but nobody did anything that would be out of place at the Somerset Club either.
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.
One happy consequence of San Francisco’s famously late summers is the continuing presence of European visitors well into the fall concert season. Warm weather and serious indoor music are a rare mix, and this is the time of year to experience the best of both. So it was no surprise last Saturday to encounter a happy swirl of German voices in the Davies Hall lobby. In fairness to heresy, the French were also out in good humor–or at least the Belgians and Swiss–and for a very German program, too–not to mention unusual numbers of young Asian women, about which more in a moment.