Koussevitzky Memorial Concert

Tanglewood, Lenox, MA
www.tanglewood.org
August 2, 2009
by Debra Tinkham

Danish conductor, Thomas Dausgaard, started the concert's rainy Tanglewood program with Beethoven's Piano Concerto No. 3 in C minor, Opus 37. Guest pianist, Norwegian born Leif Ove Andsnes, played masterfully and seemed little bothered by the heavy rain which dampened the sounds of the orchestra. This short, three movement Concerto sounded more like a piano Concerto. The clarity of the piano carried crystally clear. Next came an unannounced deluge of showers along with another mass exodus of concertgoers. The crowd was exceptionally small and the intermission was omitted in order to complete a soggy Rachmaninoff Symphony No. 2 in E minor, Opus 27.

Three members of the Boston Symphony Orchestra (BSO) are retiring at the end of Tanglewood's 128th season and they were to be acknowledged at the end of today's concert. That too was omitted, presumably due to the weather. With a combined total of 123 years of devoted service to the BSO, harpist, Ann Hobson Pilot (40 years), violist, Ronald Wilkinson (38 years) and violinist, Amnon Levy (45 years) will hang up their strings ending three very illustrious careers. Pilot writes, "When I was a young student just beginning the harp, I was not given much of a chance, as an African-American female…Forty years ago, the BSO gave me the opportunity to collaborate with world-class musicians and conductors…"

The day was weather rare and fair weather friends. Neither the weather nor the people were fair to Rachmaninoff, the BSO, or Dausgaard because the commotion of packing and moving instruments, unfortunately, dampened a great deal of the program. Let's hope for fairer weather and fairer friends in the future. Mr. and Mrs. Koussivitzky commissioned the building of the Koussevitzky shed back in 1937 for this very reason.

Tanglewood Rehearsals

Tanglewood, Lenox, MA
www.bso.org
Saturdays, July & August, annually
by Shera Cohen

The sounds of symphonic music compete with the squawking of crows. It's the Boston Symphony Orchestra vs. the feathered creatures. Fierce battle ensues. While the birds hold their own periodically, the BSO always wins out. Such are Saturdays each summer at Tanglewood.

Nearly every Saturday in July and August, the BSO opens its huge tent and pristinely mowed lawn for open rehearsals. Starting at 10:30am and ending at various times - whenever the conductor feels that the orchestra is rehearsed to his/her satisfaction (approximately between 12pm-1:30pm) - hundreds of music lovers enjoy these quasi-concerts. Usually, the music is that of the Sunday afternoon program. Tanglewood's program book lists the composers, pieces, conductors, and guest artists. Audiences know in advance what and who they will hear.

The choice is to sit indoors (actually a huge tent) or outdoors, or both, as there are no designated seats. Many arrive at 7am to get the "best" seat. But "best" is in the mind of the listener, and for many their folding chairs on the manicured lawn is the best seat in the house. But, if arriving at 10:25am, nothing will be missed. Rehearsals do start exactly at 10:30am. The dress is casual with the musicians in shorts and t-shirts. The same applies for the crowd. It's not unusual to see rows people donned in Tanglewood shirts, caps, and sweatshirts.

Symphony rehearsals have become more and more popular, having perhaps taken a cue from the many years of success at Tanglewood. Some may think that by attending a rehearsal there is no need to go to the finished product. In fact, the experience is the opposite. Listening to a rehearsal, with its frequent or not-so-frequent stops and starts for the conductor's corrections and comments, makes the ultimate performance clearer in appreciation and understanding of the work.

The ticket price is $17 for adults and free for children under age 12. It is wonderful to see kids, usually on the lawn, enjoying the music of Bach, Mozart, Ravel, et al. Sometimes the sounds that they hear are only background to their chatting with siblings or playing video games. That doesn't matter. They are there, soaking it all in, even subliminally. It is likely that these kids will be our future generation of symphony goers and patrons, remembering their wonderful trips to Tanglewood.

Tanglewood on Parade

Tanglewood, Lenox, MA
www.bso.org
August 1, 2009
by Shera Cohen

In spite of the fact there were no floats or horses, this "parade" was certainly full of music - in fact the best music in all of Massachusetts and probably New England. Started six decades ago, Tanglewood on Parade is an annual all-day event appreciated by more than 10,000 people. Overlooking the throngs of audience goers, particularly those on the lawn, the figure of 10,000 is conservative. The weather undoubtedly increased the expected crowds as this was a perfect Tanglewood day.

Four orchestras performed various pieces from 2pm until the grand finale fireworks at 11pm. Admission included 14 separate concerts to choose from in 7 venues including troubadours on the lawn. This was a who's who of conductors (John Williams, James Levine, Keith Lockhart, Leonard Slatkin, and Rafael de Burgos), composers (Rossini, Enescu, Bernstein, Copland, Tchaikovsky), and other recognizable names (choreographer Mark Morris, Governor Deval Patrick).

The evening's program listed primarily familiar pieces, which is common to Parade, and welcomed by the audience. The overture to "William Tell" was obviously rousing, performed by the "house band," so to speak, the Boston Symphony Orchestra, kicking off the final concert of the day. Enescu's "Rumanian Rhapsody No. 1" is one of those well-known pieces which the average listener does not know by name but only by ear. Gentle and yet swift like a speeding train that had lost its breaks, Enescu's music is memorable.

The Tanglewood Music Center Orchestra (most talented youth) took on the lengthy dances from "West Side Story." The young percussionist worked in fast-motion, and the audience did all but sing-along. Parade would not be complete without the Boston Pops. John Williams conducted his own "Tributes: For Seiji" (Seiji Ozawa), and Keith Lockhart took the podium for Copland's "Lincoln Portrait." Narrated by Governor Patrick, the Pops performed the entire score.

It took a few minutes for the combined musicians of two orchestras to overflow the stage for the "1812 Overture." Every Parade's finale is the "1812" coupled with fireworks. It's been heard before, and will be heard again. Once is not enough, nor are a dozen or 100 times.

All Mozart Concert

Tanglewood, Lenox, MA
www.bso.org
July 19, 2009
by Debra Tinkham

The George William and Florence Newsome Adams Concert Endowed in Perpetuity performance featured James Levin conducting this "All-Mozart" program of Symphony No. 39 in E flat, K.543; Symphony No. 40 in G minor, k. 550; and Symphony No. 41 in C, k. 551, "Jupiter." It is difficult to believe that young Mozart, who died at the age of 35, wrote these last three incredibly complicated masterpieces in less than three months, and it is historically questionable if they were ever performed during the remaining three years of his life.

All three symphonies, in four movements each, were beautifully enjoyed by the large throng of Tanglewoodians enjoying yet another sunny, warm Berkshire Sunday afternoon. Neither rain, nor snow, nor sleet, nor hail were a part of today's venue, but what was a hinderance was the massive amounts of unwelcome decibels - children crying, people talking loudly - and at one point, a golf cart that took a wrong turn? The concessionaires were loading/throwing inventory to the point of distraction. Tanglewood is for good music and peace and quiet. Perhaps additional security is needed to babysit the inconsiderate souls who choose to talk their way through some of the world's most beautiful music.

Mozart's last three symphonies are brilliant, challenging, diversified. Even the most learned historian of music would need decades to analyze and fully appreciate the talent of one fine, young artist know as W.A. Mozart.

Boston Symphony Orchestra

Tanglewood, Lenox, MA
www.bso.org

July 12, 2009
by Debra Tinkham

Home, Sweet Home! Tanglewood that is; summer home of the Boston Symphony Orchestra and the start of their 128th season. Today's incredibly brilliant performance began on an incredibly beautiful Berkshirian day, with Herbert Blomstedt, who made his conducting debut with the Stockholm Philharmonic Orchestra, in February 1954. First up was Ludwig van Beethoven's short Overture from the incidental music" to Goethe's "Edgmont," Opus 84, a story of victory, and ultimately, tragedy, which was first performed at Tanglewood in 1940.

Max Bruch's Violin Concerto No. 1 in G minor, Opus 26" featuring the lovely and talented Joshua Bell, was a show stealer. This three-movement concerto was so beautifully performed that the only downside was that it ended much too soon. Bruch's love of the violin and his "desire to compose music that is immediately…comprehensive to the bulk of the audience on first hearing," was truly evident. So passionately and captivatingly performed, it was as if all other sounds paused to enjoy the "Allegro moderato prelude, Adagio, and Allegro energico finale." Bell's love of the violin began at the age of 12 and today he plays a 1713 Gibson Stradivarius.

Symphony No. 8 in G, Opus 88, a four-movement symphony by Antonin Dvorak, completed today's delicious venue. Its introduction was rich with cellos, clarinets, bassoon and horns, with ebbs of passion growing and waning throughout. Dvorak handled the many key changes craftily, leaving the listener with nothing but the feeling of flowing harmonics.

Today's music on the mountain left many speechless. The atmosphere, while packing up, and those lagging behind, was euphorically somber. Next Sunday's performance, with James Levine conducting an "All-Mozart Program" will be something to look forward to, for there's no such thing as disappointment at the summer home.

Yo-Yo Ma Concert

Tanglewood, Lenox
August 3, 3008
by Debra Tinkham

The traffic from exit 2 west was bumper-to-bumper on this breezy, Sunday afternoon. It was a slow crawl all the way to Lenox, Tanglewood parking lots were filled to capacity, and “park where you can” instructions came from the valet attendants. Why? Yo-Yo Ma!

The program, unfortunately, started on time, because many admirers of Ma were late. Fortunately for viewers/listeners, Ma’s performance was second on the program, so not one note was missed. It’s uncanny how faithful Ma’s followers are, yet, he seems to continually give his all, knowing how pleased his audience is going to be.

It was, needless to say, an incredible afternoon, with music by composers Isaac Albeniz, Edouard Lalo and Sergei Rachmaninoff (1873 – 1943), but Lalo’s Cello Concerto in D minor most definitely was a show stealer. Special in many ways because Ma was performing this piece for the premiere performance at Tanglewood, and Carlos Miguel Prieto, conductor, was also making his Boston Symphony Orchestra’s debut. This young conductor had an immediate rapport with his players, then add Ma to the mix and you are “simply having a wonderful music time.”

The entire program consisted of Albeniz’s Suite from Iberia; Lalo’s Cello Concerto in D minor and Rachmaninoff’s Symphonic Dances, Opus 45. The Symphonic’s first Boston Symphony Orchestra’s performance was 1974, with the illustrious Seijji Ozawa conducting, and the first Tanglewood performance was not until 1991. This Rachmaninoff piece is one of his easier works to follow - melodically. Each movement flowed purely and with ease – not often a trademark of Rachmaninoff. To the untrained ear, it might even be misconstrued as “easy listening.” All in all, another magical day in the Berkshires.

Film Night

Tanglewood, Lenox
July 26, 2008
By Shera Cohen

For the past ten years, the Boston Pops Orchestra and maestro-extraordinaire John Williams have performed Film Night at Tanglewood. Yes, the July 4th concert as well as Tanglewood on Parade in August are huge events. With lesser fanfare, Film Night stands above those other evenings of music, particularly for anyone who has ever seen a movie composed by Williams. Let’s see…that means nearly everyone in the U.S., abroad, and probably on other planets. Williams has a special knack with extraterrestrial sounds.

The program’s first part began with a montage of movie music with every other piece a Williams’ theme. Whispers accompanied each number as the audience guessed the names of the movies. Once the screens descended for those in the Shed and outside, there was no need to wonder, except for the segment of “women in the movies.” Who was that star from the 1930s, for example.

While it was no secret (it was listed in the program book) that the entire second half was devoted to Indiana Jones, the special guests were huge surprises who received standing ovations: Kate Capshaw, Karen Allen, and Steven Spielberg. The latter narrated behind the scenes development of the Jones’ movies, including film clips without music. Williams’ creations were added, the clip repeated, and the crowd’s appreciation for the composer’s work was boisterous.

No, Harrison Ford was not at Tanglewood. But, isn’t it wonderful that Williams (just a composer!) and Spielberg (just a director!) are names as recognizable as Ford.

Williams shared his applause after each piece with his orchestra, making them stand. Let us not forget the Boston Pops. Without their talents, Williams’ work would have been silent. Indeed, he seemed like a humble man, unassuming by his skills and fame.

The only unfortunate part of the evening was a heavy storm immediately prior to the concert, perhaps keeping some listeners away. The stalwarts sat on soggy grass. Yet, even on a bleak day, Tanglewood’s grounds coupled with music from its venues make for one of the truly wonderful places in our country and in our culture.

Schumann & Mendelssohn

Tanglewood, Lenox
Sunday, July 20, 2008
by Debra Tinkham

The Lost and Foundation, Inc. – Cynthia and Oliver Curme Concert featuring Shi-Yeon Sung, conductor, began with Robert Schumann’s ‘Overture from the incidental music to Byron’s Manfred, Opus 115.’ This was Korean born Sung’s Tanglewood debut, and what a debut it was. Sung’s curriculum vitae is longer than a large man’s arm, but she is a welcome breath of fresh air. (Note that Sung will make her BSO subscription series debut at Symphony Hall (Boston) in April, 2009.

Schumann’s Piano Concerto in A minor, Opus 4 was first performed in December, 1945. Schumann’s wife, Clara Wieck Schumann, was the pianist for this performance. Today’s performance featured the very talented Garrick Ohlsson on piano. The interpretive and technical artist is best known “…as one of the world’s leading exponents of Frederic Chopin’s music.” So, if Schumann isn’t his forte, imagine his Chopin!

Felix Mendelssohn’s Symphony No. 4 in A, Opus 90, written while spending two years in Italy, thus known as the “Italian” Symphony, has long been considered his most perfect work. In laymen terms, this would be considered beautiful, easy-listening music; but to a scholar, it is complicated, precise, emotional and euphoric. Written at an early age, (he died at 39) it is one of his….”most brilliantly orchestrated scores of this incredibly precocious artist.”

A “Farewell, Thanks, and All the Best” is in order for three of the BSO members retiring at the end of the 2008 Tanglewood season, who with a combined effort, bring in excess of 90 years of musical talent to the table. Peter Chapman, trumpet; Daniel Katzen, horn; and Ronald Barron, trombone, will be sorely missed in the final Tanglewood concert in August.

Debra Tinkham

Berlioz, "Les Troyens" Part II, Acts III - V

Tanglewood, Lenox
by Colleen Moynihan

This grand masterpiece by Hector Berlioz, composed in the mid-19th
century, was conceived as a counter to the acclaim being awarded to
Berlioz's competitor, Wagner. Les Troyens, enduring a century of
struggle to be known by concert goers, proves it does meet the standard
of a grand masterpiece. Requiring 7 hours to do the complete work, Part
II has historically been the most performed.

This performance by the Tanglewood ensemble was exciting, lush, filled
with both vocal and instrumental moments of brilliance. Berlioz's genius
as an orchestrator was reinforced by a tight yet flexible interpretation
by Maestro Levine and the Boston Symphony Orchestra which gave the lyrical lines of the opera a
positive tension. The chorus and individual vocalists added to the
vibrancy of the overall performance.

A rousing opening chorus set the tone for the work. Queen Dido's (Anne
Sofie von Otter, mezzo-soprano) opening aria was full of passion and
foreboding. Von Otter maintained this exciting tone throughout her three
plus hour performance. Aeneas (Marcus Haddock, tenor) was well matched
in tone, control and mastery of phrase. The solos as well as the duets
had energy and lustiness based on technical mastery.

The performance was diluted slightly in Act 4, Scene 2. The secondary
leads (Christin-Marie Hill, mezzo and Kristinn Sigmundsson, bass) and
their respective solos and duet were a bit lackluster and in some instances
demonstrated less control of lower ranges . The appearance of these
individuals in subsequent scenes was decidedly improved as the vocals
were more comfortably placed.

Act 4, Scene 1, was completely instrumental. This showcased Berlioz's
talent as a composer and skill as an orchestrator. The
orchestra obligingly gave their all in this counterpoint of reeds and
brass, full voiced strings showcasing the flowing, lyrical themes of the
music.

Heroic tenor arias, soaring soprano vocals, lush, lyrical passages,
simple flowing lines and texturally complex voicing for both vocalists
and instrumentalists marked a musical experience that reinforced
Berlioz's goal of creating a grand masterpiece. First played in the
United States in 1955, it is time to "play it again and again"!