Tag Archive: Shostakovich

Best Concert of the Year?

Andris Nelsons conducts the BSO

Boston has had a very good music season since the first of the year. Notably, Andris Nelsons has established himself ever more fully as leader of the Boston Symphony Orchestra. After a triumphant concert performance of Strauss’s Elektra in the fall, Nelsons came back with especially strong accounts of three large-scale symphonies: the Shostakovich Eighth in March, and the Bruckner Third and Mahler Ninth in April. All were brilliantly played by the orchestra, which seems to have accommodated itself to Nelsons very well.



A Crop of Recordings IV: Enescu, Suk, Poulenc, Martinů, Tchaikovsky

George Enescu and violin. From romaniapozitiva.ro

As collectors know, exploring outside the basic repertory is often both frustrating and rewarding.  The search for significant neglected music, one learns early, is not so easy as it appears. Many worthy pieces one falls in love with turn out to be partial works of genius, with uninspired moments we choose to forgive, defects of length and proportion, or performing requirements condemning them to obscurity.



Boston and Berlin at Carnegie in 2015

Carnegie Hall, 1906

The fall 2015 orchestral season at Carnegie Hall was dominated by the Boston Symphony Orchestra’s traditional three-concert visit, this time in October, and a five-concert traversal of Beethoven’s symphonies by the Berlin Philharmonic under their outgoing principle conductor/artistic director, Simon Rattle. Both had their joys and peculiarities, but only Berlin confronted us with any actual disappointments.



A Crop of Recordings I: Shostakovich, Scriabin, Schönberg, Nielsen, Brahms, Strauss, and a Piano Recital

Steven Kruger—with the kind permission of Fanfare Magazine—here begins a series of reviews of recorded music. All these are from CDs and SACDs, but of course the download is rapidly becoming a more important source for recordings. Of course the rest of us will be chipping in as well!



Vasily Petrenko Conducts the San Francisco Symphony in Barber, Rachmaninoff, and Shostakovich, with Sa Chen, Piano

Vasily Petrenko. Photo Mark McNulty.

Concerts this good have become our norm and good fortune in twenty-first century America—especially in San Francisco. We are used to charismatic conducting, to fine piano debuts, to engaged orchestral playing and the rediscovery of great neglected symphonies. What differs from time to time is the realization that a performer may not only be accomplished, or even inspiring, but one of a kind. I begin to think Vasily Petrenko is such an artist.

Michael Tilson Thomas conducts The London Symphony Orchestra in Colin Matthews, Gershwin (with Yuja Wang), and Shostakovich

Yuja Wang

If you feel pursued by good luck, do we call it paranoia? This is the question I must answer lately, since it seems the London Symphony has chased me down in San Francisco—to my great delight!

Just a month ago, I had the good fortune of hearing Sir Mark Elder lead the orchestra in a solid Pathétique at the Barbican. By the time my visit was over, I had experienced the Berlin Philharmonic, the BBC Symphony, the Philharmonia and the London Philharmonic, as well. What puzzled throughout all this listening was the difficulty of telling the orchestras apart in London’s Barbican and Festival Hall, clinical modern venues with limited reverberation and bass.



Charles Dutoit triumphs in Shostakovich’s Tenth Symphony with the San Francisco Symphony, with Kirill Gerstein in Beethoven

Charles Dutoit

There’s no question that the San Francisco Symphony is one of our great American orchestras. I go to as many of their Carnegie Hall concerts as I can, and if these are not a consistent joy, it has nothing to do with the musicians’ capabilities, rather with the vagaries of Michael Tilson Thomas’s talents and tastes—of which more later. The concert I am reporting on had little to do with MTT beyond his successful maintenance of Herbert Blomstedt’s discipline.



James Conlon leads the San Francisco Symphony in a little “Entartete Musik”

Composer Erwin Schulhoff

If nothing else had been performed this week at the San Francisco Symphony, the Scherzo from Erwin Schulhoff’s Fifth Symphony would have been worth the ticket. James Conlon has become an authority in recent years on the subject of “Entartete Musik,” which is to say, music forbidden performance by the Nazis. And he had the daring to program just what he thought the audience would enjoy. I made a point after the concert of listening to several complete symphonies by Schulhoff and concluded Conlon was right to include just the Scherzo from the Fifth Symphony in his program, at least this time around. The music was both remarkably exciting (about which more in a moment), not too long and utterly hilarious, due to the brilliant and edgy talk Conlon gave from the podium before performing it.



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