Boston Symphony Orchestra News
American symphony orchestra in Boston, MA
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2024-03-15
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The Boston Musical Intelligencer
2024-03-10 03:42:59
The Boston Symphony Orchestra, conducted by Dima Slobodeniouk, presented Edvard Grieg’s complete incidental music to Henrik Ibsen’s Peer Gynt in a theatrical adaptation conceived, written, and directed by Bill Barclay. Soprano Georgia Jarman, eight actors (playing 18 roles), and the Tanglewood Festival Chorus shared the stage. [] The post appeared first on The Boston Musical Intelligencer.
The Boston Musical Intelligencer
2024-03-05 04:35:20
The Boston Symphony Orchestra’s “Music of the Midnight Sun” cycle concluded this past Saturday with sonic glimpses of Nordic mythos and majesty. John Storgårds helmed and violinist Pekka Kuusisto soloed. [] The post appeared first on The Boston Musical Intelligencer.
2024-02-26 04:30:00
Absolutely on Music: Conversations with Seiji Ozawa (Book Review)
by Karl NehringMurakami, Haruki. Absolutely on Music: Conversations with Seiji Ozawa. New York: Alfred A Knopf, 2016. The world of classical music lost a legendary figure earlier this month when the revered and beloved Japanese conductor Seiji Ozawa (1935-2024) passed away at the age of 88. February 6 has long been a memorable day in my life, for it was my ETS day – the day I was discharged from active duty in the U.S. Army, way back in 1975. But from now on, February 6, the day of Seiji Ozawa’s passing, will have an additional memory attached to it, making it a bittersweet day of remembrance for the rest of my time here on this watery orb. My guess would be that most lovers of classical music have at least a few recordings in their collection that feature Maestro Ozawa. He was at the helm of the venerable Boston Symphony Orchestra […]
The Boston Musical Intelligencer
2024-02-17 13:50:36
On a Saturday evening some 70 years ago I heard the Boston Symphony Orchestra live for the first time. Melville Smith, then director of the Longy School, had given me two tickets he couldn’t use. Charles Munch conducted. Before the intermission came Honegger’s Symphony no. 1; the program notes mentioned harmony that “trends toward C major,” which amused me and my 9th-grade classmate George Nelson — it must have meant that the symphony was “modern.” After the intermission we heard Schubert’s “Great” Symphony in C Major, a work I had never heard before, but George knew it well. “This symphony begins with a solo horn,” he said. (Actually it turned out to be two in unison.) I was deeply impressed by the experience, and especially by the slow movement, but never imagined that I would write a book about this symphony a few years later (2011). Eventually I began to […]
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