Schoenberg in the opera often mentions Mahler, and we see his name projected on the back screen—a great Austrian Jewish composer who preceded Schoenberg in coming to America. Since James Levine’s day, the Boston Symphony has not given us Schoenberg (though Verklärte Nacht or the Five Pieces for Orchestra, or Gurrelieder might seem a good fit for Music Director Andris Nelsons). But the BSO does consistently perform Mahler, and in recent weeks gave us the huge, choral Second (Resurrection) Symphony and the tuneful and popular Fifth (whose Adagietto for strings is used so poignantly in Luchino Visconti’s film Death in Venice).
Andris Nelsons has garnered a lot of attention during his first season as Music Director of the Boston Symphony Orchestra—much coverage in the local and even national press; receptions for the public and an exhibition with a talking hologram at Symphony Hall; placards on buses around Boston and in the subway. He threw out a ball for the Boston Red Sox at Fenway Park. The BSO organization wants him talked about by the man and woman on the street—especially the younger set. It remains to be seen whether a new younger audience will be drawn to the BSO. Eventually, it’s the music that will matter, not publicity.