Tag: Boston Symphony

Boston, Classical Music, Composers, Concert review, Contemporary Classical, File Under?

Boston Symphony at Tanglewood, July 29, 2023 (Review)

Photo: Hilary Scott.

Boston Symphony Orchestra, Dima Slobodeniouk, conductor

Avery Amereau, mezzo-soprano

July 29, 2023

 

LENOX – This year’s Festival of Contemporary Music at Tanglewood spotlighted female composers. Four created self-curated concerts, and others were featured on BSO concerts. Agata Zubel’s In the Shade of an Unshed Tear, originally composed for the Seattle Symphony, was on the program Saturday night in the Shed. Before its performance, conductor Dima Slobodeniouk talked briefly with Zubel onstage. Prominent among their remarks were the stipulations of the original commission. Seattle was pairing Zubel’s piece with works by Beethoven and wanted her to compose for a classical-sized ensemble, with only timpani for percussion. Slobodeniouk pointed out that new pieces in Europe are generally for a much larger orchestra. Zubel acknowledged that the commission was a challenge. 

 

With In the Shade of an Unshed Tear, the composer rose to the challenge. The timpani began the piece with thunderous attacks, the orchestra following in kind, creating a fortissimo sound that tested the boundaries of a classical-sized ensemble. Zubel employed glissandos grouped among the strings at a lower dynamic level. Still, the fortissimo material seemed inevitable to win out. In a swerve, a denouement followed by the timpani playing pianissimo proved an interesting and organic ending. 

 

Olivier Messiaen’s Les Offrandes oubliêes is a relatively early piece. It is surprising how much of the composer’s musical language was in place by the time he was in his twenties. An ascending mixed-interval scale serves as the principal theme. At the time, the composer was studying Rite of Spring and this is reflected in more rigorous passages that contrast the beguiling melodic ascent.

 

Mezzo-soprano Isabel Leonard was indisposed and Avery Amereau substituted for her as the soloist in Hector Berlioz’s Les nuits d’été. With a beautiful, round tone throughout all registers from chest voice to high notes, Amereau’s voice was well-suited to the considerable demands of Berlioz’s half-hour long song cycle. Slobodeniouk and she had a few mild coordination challenges, but these were well worth the flexibility of their interpretation.

 

Maurice Ravel’s Daphnis et Chloé, Suite No. 2 is one of the composer’s finest orchestra pieces. Orchestrated with a deft hand for colorful, abundant contrasts, it encompasses sequences of delicate impressionist harmonies and neoclassical dancing rhythms, with powerful swells at climatic moments that bring the whole orchestra to bear. Slobodeniouk conducted the BSO with verve, urging them to make the most of tutti crescendos while also making ample room for solo passages. The orchestra played with precision throughout and abandon whenever appropriate. It was a satisfying, frequently inspiring evening. 

 

  • Christian Carey
by Christian Carey
Boston, Concert review, Contemporary Classical, Festivals, File Under?

Knussen Marches to his own Drum at Tanglewood


Knussen conducts Maderna. Photo credit: Hilary Scott

The 2010 Festival of Contemporary Music at Tanglewood has moved away from its recent model of having a solo curator conceive the festival. Instead, the curatorial duties are shared by three of its longtime faculty members: Gunther Schuller, Oliver Knussen, and John Harbison. The focus this year is on Tanglewood’s past and present faculty composers. Far from feeling like ‘old home week,’ the programming has demonstrated a wide range of stylistic diversity among those who’ve taught at Tanglewood. In addition, one can observe how each successive generation of Tanglewood students has benefited from their instruction here and, in several cases, returned to mentor the Festival’s next generation of up and coming composition fellows.

Thursday August 12’s concert felt the curatorial presence of Gunther Schuller looming large, although the composer himself wasn’t present (apparently, he has a conflicting commitment at the Edinburgh Festival). One could hear why he might be attracted to George Perle’s Concertino for piano, winds, and timpani (1979). Though Perle isn’t generally known for jazziness in his music, the Concertino mixes some lushly voiced verticals – recalling Gershwin or, indeed Schuller in Third Stream mode – amidst the otherwise prevailingly neoclassical ambience. William McNally played the solo piano part with dextrous execution. Both he and the ensemble, led by Cristian Macelaru, provided a well prepared account of the Concertino, sensitively shading its complex harmonic palette.

Theodore Antoniou’s Concertino for Contrabass and Orchestra (2000) was a virtuoso showcase for soloist Edwin Barker. Rhythmically propulsive and harmonically eclectic, it demonstrated a host of playing techniques for the instrument. Barker rose to every challenge, suggesting that the bass fiddle is not just some lumbering beast to be kept confined to anchoring the orchestra’s low end. Rather, in Barker’s hands, it proved nimble, wide-ranging, and capable of thrilling effects: one especially noticed the brilliant glissandi harmonics.

Schuller’s Tre Invenzioni (1972) an angular piece for five spatially dispersed chamber groups, was conducted by Oliver Knussen, who artfully shaped its often punctilious, angular surface. One didn’t envy the students for having to tackle some of the exposed and punishing altissimo lines Schuller put in their paths. But it was an impressive rendering of this unforgiving and formidable piece.

Written in 1922, it’s somewhat curious to find Paul Hindemith’s Kammermusik No. 2, an incisive but conservatively neoclassical work, on a festival devoted to contemporary music. But Hindemith did indeed serve on Tanglewood’s compositional faculty back in 1940-41. That connection alone might not suffice for some, who might wonder why they couldn’t program one of his more daring works. But the piece was well worth hearing if only to enjoy pianist Nolan Pearson, who played with dazzling virtuosity and impressive, almost Mozartean, elegance, as well as the fine support he received from an ensemble conducted by the youthful up and comer Alexander Prior.

The highlight of the evening was a thrilling performance of Bruno Maderna’s Il Giardino religioso (1972), led by Oliver Knussen. Dedicated to longtime Tanglewood patron Paul Fromm (the title’s religioso is a pun on the meaning of Fromm: “devout”), this chamber orchestra piece contains quasi-aleatoric complexity and bold theatricality.

Things began with a bit of a snag. In the midst of the work’s hushed introduction for antiphonally seated solo strings, an audience member took a cell phone call, interrupting the proceedings. Sans histrionics, Knussen stopped the performance, tramped offstage, and returned after a moment. “Let’s try again,” he said.

One was certainly glad that he did, as the delicate balance of the resumed opening brought the now raptly attentive audience into a fascinating labyrinth of sounds. Knussen got to do double duty as a performer, first playing chimes, then drums, and finally celesta. The piece builds to a ferocious climax which is punctuated by two large cymbals being flung to the ground. In a gradual denouement, it returns to gently haunting antiphony. Incantatory music, magically rendered. Makes me want to hear much more Maderna!

The festival continues through Monday, August 16th. Stay tuned for more dispaches from Lenox.

by Christian Carey