Tanglewood

Trombone Shorty, Ben Harpur at Tanglewood, September 6, 2019

By Dave Read – Bob Dylan’s song from the Basement Tapes, Too Much of Nothing, comes to mind while reflecting on my last visit to the Koussevitsky Music Shed at Tanglewood during the 2019 season, ironically, because both headliners that day delivered an evening’s worth of entertainment, and I could’ve gone home a happy man with my musical appetite fully sated at the conclusion of Trombone Shorty’s set.

Nothing but good music tonight – but was too much squeezed into one program? I think separate programs of more typical two set shows would have been better, allowing us to stretch out and savor the music, and allow the enjoyment to linger, rather than having to rinse the auditory palate and gear up right away for another hullabaloo.

Trombone Shorty and Orleans Avenue 2019 Tanglewood concert review; photo:Hilary Scott.

If I had split after Shorty’s set, it would have been the dumbest decision I’d made since that time I wore my white bucks after Labor Day! Ben Harpur and the Innocent Criminals are that good. Just two nights earlier, we split the scene at the conclusion of the Mavericks rousing set, 100% incurious to hang around to find out what Squeeze sounds like. (We had taken a pass during the 1970s on the Second British invasion, which the advance publicity listed Squeeze as being in the vanguard of.)

Ben Harpur and the innocent Criminals 2019 Tanglewood concert review; photo:Hilary Scott.

I really was a little tired after the first set, because I’d got caught up front in the aisle where I’d gone to see what all the fuss was about and got trapped by aisle-clogging dancers, and eventually got caught up in the fun – the sort of infectious fun, with a pronounced aerobic aspect, that may be common in the Big Easy, but sure ain’t hereabouts! And speaking of dancing in the aisles, one could dust off the “cut a rug” cliche if you’re talking about the aisle in the Shed where the big green benches used to be, because they replaced the benches with beige carpeting!

But seriously folks, this was a real treat – two musicians with mastery of their instruments, no small feat in itself, but also two musicians sufficiently tuned in to what an audience wants that they assemble the right cohort of equally great players into bands for the performance of skillfully paced shows. One example from each set: Dan Oestreicher’s solo on baritone sax was out of this world as was the bit of business by percussionist Leon Mobley, a student of Babatundi Olatunji, namechecked in I Shall Be Free (1963) by the only musician who could bookend this report, Bob Dylan.

Mavericks thrill scant Tanglewood audience, September 4, 2019

By Dave Read – Now this was more like it – an unannounced young hard-working musician added to the bill for a concert by a band called Squeeze in the Koussevitsky Music Shed at Tanglewood, a bill that already boasted the Mavericks, with chastened former maverick Raul Malo included in tonight’s nonet from Nashville.

We mention that this band with a heavy Latin accent is based in the home of American county music because a mere four days earlier, the guest conductor who led the Boston Symphony Orchestra in their annual summertime swansong, Beethoven’s Ninth, Giancarlo Guerrero, a native of Nicaragua, is music director of the Nashville Symphony, with which august outfit the Mavericks have shared a program!

Too often these “popular artist” programs are nostalgia trips featuring groups that once were hard-working bands but have long since become franchises that attract audiences eager to reprise that brief shining moment – high school. If you want to see something funny, come to one and watch these incurious people attempting adolescent choreography with their imminent heart attack bodies.

Musical artists are restless people who keep moving from one unique project to the next one. Popular artists are fidgety by comparison; in concert, they are more likely to tweak an act resembling the one that got them up onto the big stage in the first place. They have become faithful keepers of some golden goose. So hooray for the young musician who ignored a nearly empty Shed and cut loose for her first time on the big stage. This is for certain – she’d look insane doing the same act at seventy five!

This was a Mavericks show for us, largely because an old pal took us to see Malo in concert at the estimable Iron Horse some years ago, and we wanted to repay the favor. The advance PR described Squeeze as emerging from the second British invasion. That would put them beyond our curiosity; we’ve been burned – er, given a splitting earache, by attending shows by unknowns; by hanging around to learn what all the fuss is about.

Giancarlo Guerrero conducts Beethoven’s Ninth at Tanglewood, August 27, 2019

By Dave Read – To close the Boston Symphony Orchestra’s 2019 season at Tanglewood in the Berkshires, guest conductor Giancarlo Guerrero conducted the annual climactic Beethoven’s Ninth. The program opened with Arnold Schoenberg’s brief choral work Friede auf Erden, which translates to “Peace on Earth.” It has roots as a Swiss Yuletide poem, as Ode to Joy originated as a drinking song, making them perfectly suitable bedfellows for a Tanglewood afternoon!

Conductor James Burton’s Tanglewood Festival Chorus was outstanding; I am always in awe of the magnificient instrument they become, the synthesis of scores and scores of voices into some bespoke thing that pleases the senses as it moves the soul. For the Beethoven, of course, they are augmented by a solo quartet, soprano Nicole Cabell, mezzo-soprano J’Nai Bridges, tenor Nicholas Phan, and bass Morris Robinson.

Maestro Guerrero, a native of Nicaragua who is music director of the Nashville Symphony, conducts with a focused and bold manner. Without seeming at all histrionic, he commands your attention – there was one passage where it looked as if he were an augur boring through the podium.

The program, with the “peace on earth” preface concluding in time for the national bell-ringing, reflects the orchestra’s decision to participate in what seems like a misguided project of the National Parks Service, of all people, to mark the anniversary of the arrival in the Virginia colony of a ship carrying slaves from Africa. We say misguided because the only people who may be up in the air about slavery today are busy dismantling America’s National Parks, and generally making life miserable for everybody.

Furthermore, descriptions of the ship’s arrival in 1619 betrayed the attention to detail of a Philadelphia lawyer, because 1619 did not mark the arrival here of slavery, which was a tactic used by indigenous peoples of North America, as it was on every other continent. Slavery is more a defect of human character, than an aspect of nationality.

Yo-Yo Ma performs Bach’s Six Cello Suites at Tanglewood

Article updated August 15, 2019 by Dave Read

Yo-Yo Ma is scheduled for open cello workshops Aug. 10 and 11, 2023 @ 2pm in Ozawa Hall. > Yo-Yo Ma tickets at Tanglewood.

Yo-Yo Ma performed Bach’s Six Cello Suites Aug. 11 at Tanglewood, one of 36 venues on six continents during his Bach Project, an initiative designed to “…bind us together as one world, and guide us to political and economic decisions that benefit the entire species.” When we reached the center of Lenox, two miles from Tanglewood and twenty minutes ahead of show time, we knew we were bound to be late.

Yo-Yo Ma performs Bach's Six Cello Suites at Tanglewood; Hilary Scott photo. — Yo-Yo Ma performs Bach’s Six Cello Suites at Tanglewood; Hilary Scott photo.

We were not alone, though, another eighteen and a half thousands attended the approximately two hour concert that was delayed half an hour. To nobody’s surprise, former cello student and local favorite James Taylor popped up for an encore – Suite Baby James, to bring about a synthesis of pop music stardom and musical artistry.

Yo-Yo Ma is far and away the brightest star in the firmament of classical music, and perhaps the world’s most important artist as well. How generous of him to devise such an ambitious enterprise, built around music composed three hundred years ago, music he recorded during the Reagan administration, music he began playing as a child in the 1950s.

With a home in Tyringham and nearly annual performances at Tanglewood, Ma is a familiar presence in the Berkshires. This is where in 1998 he began another trans-national project, the Silkroad Ensemble. Today, “Silkroad seeks and practices radical cultural collaboration in many forms, cultivating unexpected connections and fostering empathy and trust to create a more hopeful world.”

As we learned a couple weeks ago by attending the master class Mr. Ma conducted, with three Tanglewood Music Center fellows and an Ozawa Hall audience of one thousand, these compositions by Bach invite the musician to examine the full range of human emotion. While attending their performance by Yo-Yo Ma, the auditor can enter a mental realm that may be analogous to a fragrant hot bath – it alters one’s perception of their own mass, while arousing in the mind a broad smile.

So we pinched ourself at regular intervals tonight to keep alert to the performance, especially to marvel at Ma’s own expressive countenance, as varied, and with segues as imperceptable, as those in Bach’s suites. By his very nature, the artist is as restless as any citizen. With a body of work and accomplishments as broad and deep as his, Yo-Yo Ma must be a very restless fellow. Even so, we’ve never seen anybody look as contented and happy as he does, playing the cello.

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2019 Tanglewood schedule

The Boston Symphony Orchestra has released the schedule for the 2019 season at Tanglewood, which will be remembered for the opening of the Tanglewood Learning Institute, the four buildings overlooking Seiji Ozawa Hall on the Leonard Bernstein camopus.

Music director Andris Nelsons will be present for the month of July, conducting 13 programs, including the world premiere of a new work by Kevin Puts, The Brightness of Light, based on letters of Georgia O’Keeffe and Alfred Stieglitz on July 20, and a concert performance of Wagner’s complete Die Walküre on july 27 and 28.

Cage releases Tanglewood fellows, August 7, 2019

By Dave Read – “…we connect Satie with Thoreau…” appears over the dense paragraph that describes Full Tilt: The John Cage Song Books (1970), the program Sunday Aug. 4 at Tanglewood’s new Linde Center for Music and Learning, the stunning suite of wood and glass sculpture on the rise overlooking Seiji Ozawa Hall.

John Cage Songbook performed at Tanglewood, Aug. 4, 2019; Dave Read photo. — John Cage Songbook performed at Tanglewood, Aug. 4, 2019; Dave Read photo

All summer long, one hundred fifty or so serious musicians are evident throughout the vast Tanglewood campus, hurrying to and from performances, rehearsals, classes, and practice. They are the fellows of the Tanglewood Music Center, who meld into an ad hoc orchestra every summer before dispersing to their first professional jobs in the world’s finest orchestras.

Video from John Cage program at Tanglewood

Tonight was different – as different as John Cage, the composer, is from Aaron Copland, Tanglewood’s original composer. They kept their game faces on, even though the program seemed to be a total hoot, in the midst of their summer of durable consequence.

One facet of the show was to hand out stickers printed with the image of Henry David Thoreau, an unlikely ghost to invite onto a campus that, for all its aesthetic purity, must be the antithesis of how Thoreau would have managed the estate whose name was coined by his canoeing companion Nathaniel Hawthorne.

Yo-Yo Ma leads master class at Tanglewood, August 7, 2019

By Dave Read – Sometimes life in the Berkshires will feel like an embarrassment of riches, such as when you can attend a master class led by Yo-Yo Ma, as brilliant as any artist at work today, held in Ozawa Hall at Tanglewood, a structure and a setting as aesthetically pleasing as J.S. Bach’s Suites for Unaccompanied Cello. The event is part of Tanglewood’s new Tanglewood Learning Institute OpenStudio program.

Yo-Yo Ma and TMC Cello Fellow Isaac Berglind (Hilary Scott)

Ma’s students were three Tanglewood Music Center Fellows – Isaac Bergland from Seattle, WA, Shangwen Liao, from Shenzen, Guangdong, China, and Ethan Brown from NY, NY. Each is nearning the end of intense musical educations and the beginnings of careers as cellists. You can’t help but think that such a class must be at least a little bit like a minor league baseball player getting batting tips from Ted Williams – in front of an audience!

Yo-Yo Ma, TMC Fellow Shangwen Liao, and an audience member explore the Bach Cello Suites (Hilary Scott)

And speaking of audience, when Mr. Ma asked for someone who does Irish dance, a gentleman leapt on stage faster than you can spell shilelagh! Whether or not Ma was expecting someone like the frenetic Michael Flatley, his volunteer performed a brief sample of “old time Irish dancing” while Shangwen Liao played a Bach passage.

TMC Cello Fellow Ethan Brown and Yo-Yo Ma during the TLI OpenStudio (Hilary Scott)

The exercise demonstrated some fine point of musicianship that lays beyond my ken, but also revealed something about spontaniety and being available for fun. As wonderful as their playing sounded to these undisciplined ears, each student also manifest aplomb and good humor – even glee, as when Liao grinned a thumbs-up to the audience while Maestro Ma swapped chairs for him!