It was a tease this time—opening with minimalist Boulez. But it was worth it. Anyone growing up past mid-century recalls an era when whole portions of the German symphonic experience were seeming property of the Berlin Philharmonic and its legendary conductor, Herbert von Karajan. Put a Berlin Philharmonic LP of Brahms, Strauss, Beethoven or Bruckner on the turntable, and the golden DGG logo virtually guaranteed this orchestra would sound richer, probe more deeply than any other and elicit sheer heft without parallel. No string or brass section would glow as beautifully or emit more power. If that didn't convey authority, as it surely did to anyone with good ears, Karajan's mesmeric space-commander hair, ascetic tunic and "visionary closed eyes" (interesting notion, that) encouraged along the way our notion of insights to be found within—most of them worthy and real.
This was originally intended to be the penultimate programme of Pollini's five-concert Project spanning the gamut of keyboard repertoire from Bach to Boulez (albeit with a large Classical Period-sized gap), but has been postponed for a couple of months due to illness. In my opinion this has made for a more fitting end to the series, not only following chronological order but also concluding by challenging the audience with something 'modern' rather than the obvious crowd-pleasing Chopin of what became the fourth Project concert. Appropriately, this concert in fact draws a connection, perhaps not immediately obvious, between the hugely different Chopin and Boulez.