Article by Dave Read

The program at Tanglewood on Sunday July 20, 2014, a mix of the new, the rare, and the familiar, with Andris Nelsons conducting the BSO, and guest soloist Joshua Bell, attracted a very big audience to the Koussevitsky Music Shed on a splendid summer afternoon. It was the fourth and final Tanglewood appearance of the season for Nelsons, whose tenure as BSO Music Director begins in September. From this amateur’s perspective, and judging too from the way the audience responded today and last week, this was a good hire by the masters of the BSO.

The program opened with Christopher Rouse’s Rapture, an eleven minute piece described by the composer as depicting “a progression to an ever more blinding ecstasy.” A former composer-in-residence at Tanglewood, Rouse was called onstage by Nelsons after the orchestra’s performance of this thrilling piece, which is highlighted by very cool timpani passages.

Joshua Bell reprises 1989 Tanglewood debut

Next, Indiana native Joshua Bell performed French composer Edouard Lalo’s Symphonie espagnole, last heard here in 1989, when Bell made his Tanglewood debut. Symphonie espagnole is really a five movement violin concerto (despit it’s whimsical title), and today’s performance manifested the orchestra’s brilliance in the role of accompanist to the violin soloist. Virtuosity across the board: Bell, BSO, and Nelsons.

Today’s concert wasn’t all high-minded seriousness, not that it ever is at Tanglewood – where the demographic is more elastic than at Symphony Hall, with plebs picnicing in close proximity to patricians and many people making their debuts as patrons of an orchestra. They make themselves know by awkward applause at the end of the first movement, before getting schooled by seatmates.

Beethoven Symphony No. 5 at Tanglewood

A soloist of Mr. Bell’s stature and popularity attracts such newcomers to the audience and some of them will become next season’s ssshhhers. Bell and Nelsons themselves were responsible for a bit of fun after the 3rd movement when the violinist paused to tidy his hair and the conductor mimicked him in turn, much to the delight of the throng.

After intermission, the audience’s attention is immediately reclaimed with the four note opening motif of Beethoven’s Symphony No. 5 in C minor, probably the most recognizable phrase in the history of art. Maestro Nelsons and the BSO were an organic whole responsible for benefitting the audience with thirty-plus minutes of transcendent beauty. There was not a scintilla of cliche in this performance – it had a freshness and originality that betrayed its age and familiarity. Just as Serge Koussevitsky himself would have expected, having chosen it for the very first program at Tanglewood!

August 25, 2013 performance; by Dave Read

There is an appealing symmetry in the scheduling of Beethoven’s Ninth at Tanglewood; it is the composition chosen 76 years ago by founding maestro Serge Koussevitsky to open the Boston Symphony Orchestra’s summer sojourn in the Berkshires and now it is almost always* played on the closing program. (*Former music director James Levine opened the 2006 Tanglewood season with Beethoven’s Ninth.)

For today’s concert, with BSO Conductor Emeritus Bernard Haitink leading the BSO, Tanglewood Festival Chorus, and soprano Erin Wall, mezzo-soprano Tamara Mumford, tenor Joseph Kaiser, and bass-baritone John Relyea, a capacity audience filled the Koussevitsky Music Shed and seven or eight thousand more convened on the Lawn, all on a day when the weather was the sort that makes even the most sullen among us see the sunny side of things.

The performance of Maestro Haitink seemed flawless, as if he were at the pre-emeritus peak of his long career. He commanded the 200+ musicians arrayed before him with an economy of action that nonetheless elicited a banquet of beautiful music. He showed that fury can be conveyed without frenzy.

Today’s performance thwarted my most determined attempt at entering a thought-less state, so that I might simply go with what flows from the stage. The first idea that trotted along was that a setting such as this, the bucolic Berkshires on a splendid summer afternoon, must’ve been put before us so that we could access a tangible, visual analog to these sounds that are rustling our souls. And that was enough to make me quit jotting mental notes. For the balance of today’s 71 minute celebration, I was delighted merely to be marked present. The ovations that followed were joyous and prolonged and included the musicians’ foot stomping salute to Maestro Haitnik.

July 6, 2012 performance review by Dave Conlin Read

It is the genius of Beethoven and his ilk to compose scores that can be brought to life by an orchestra. Once animated, the symphony occupies a gap in time where a listener can repose, affording him a respite in eternity, without the inconvenience of dying.

Alternate metaphor: We live, if not precisely minute to minute, then moment by fleeting moment. Listening to the work of such a composer as Beethoven, I get a sense that, because these scores of musicians are so keyed into time, exquisitly so, that time itself loses its grip on me.

Watching Maestro von Dohnanyi go about his business, his gestures looking so casual (so not arty) that I imagined an overnight custodian somewhere air conducting to the radio. But he clearly was keyed in and with such a masterful grasp of timing that the smallest, quietest passages were beautifully apparent tonight. Good choice for the BSO to have the former Tanglewood Music Center conducting fellow to lead the first of several anniversary-themed programs this summer.

Since ending his 20 year tenure as Music Director of the Cleveland Orchestra in 2002, Maestro von Dohnányi has kept busy. This season, he leads subscription concerts at the Boston and Chicago symphony orchestras, and at the New York Philharmonic. Last season he became Honorary Conductor for life of the Philharmonia Orchestra; this season he leads the Philharmonia in Madrid, Cardiff, in a Brahms symphony cycle at the Théâtre des Champs-Elysées in Paris, and at London’s Royal Festival Hall.