Tanglewood

Andris Nelsons Tanglewood program with Joshua Bell Beethoven’s Fifth

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!

Andris Nelsons era at Tanglewood begins

July 13, 2014, 2014 Article by Dave Read – The era of Andris Nelsons at Tanglewood got underway with an All-Dvorák program featuring violinist Anne-Sophie Mutter, Nelsons’ first concert here since being named the fifteenth Music director of the Boston Symphony Orchestra, starting with the upcoming fall season at Symphony Hall.

As if it were merely another day at work, Maestro Nelsons jogged up to the podium and summoned the orchestra to action right away. Opening with The Noonday Witch, a Symphonic poem being performed by the BSO for the first time, allowed focus to be on this new union between the 35 year old Nelsons and the 133 year old BSO, rather than on listening to a familiar score being played again. It wasn’t long before they seemed familiar, as if conductor and orchestra were all of a piece.

And ready to accompany Anne-Sophie Mutter on Dvoráks’ Violin Concerto. Described as being “fiendishly diffcult,” as performed tonight, it was a flawless delight, evoking an eruption of applause from the audience. But the happiest people in the Shed were Ms. Muter and Maestro Nelsons, who beamed the brightest of smiles to each other before embracing and taking their bows.

Andris Nelsons and Anne-Sophie Mutter at Tanglewod

They both were on the program two years ago that celebrated Tanglewood’s 75th anniversary. Ms. Muter, who made her international debut in 1976, has recorded Dvorák’s Violin Concerto with the Berlin Philharmonic, for release in October.

Mr. Nelsons’ conducting looked fluid and mobile. There was a moment toward the end of the Violin concerto, with Ms. Muter at rest, when he almost stepped off the podium, crouching and reaching toward the violins to draw forth a soft passage. He left footprints and handprints all over the podium, like an animal marking territory. Here’s hoping he enjoys a long and happy occupation of this place!

James Taylor at Tanglewood July 4, 2014

Article by Dave Read

As if the ghost of Paul Revere had gotten loose, with a mind to make mischief in the Berkshires, in the days and hours leading up to James Taylor’s 4th of July concert at Tanglewood, a quiet rumor rose to a dull roar that a British(er) were coming – to wit, Sir Paul McCartney would make a special guest appearance.

That would be a reunion of the former Beatle and the first artist signed to the beatles’ Apple records. The anicipation built and built during the concert, as Taylor made 3 or 4 references to his lucky days in London, where he auditioned for McCartney and George Harrison while the Beatles were at work on the White Album. In fact, he began the show with the very audition song Something in the Way She Moves! But it never happened, and I don’t think anybody was disappointed. (McCartney did made an appearance, via video, at Taylor’s 60th birthday celebration here six years ago.)

It was another sold-out Tanglewood gig for Taylor, who appeared fit as a fiddle after taking last year off from touring to concentrate on the latter part of the singer-songwriter job description. He performed one new song tonight that’ll appear on an album eventually – Today, Today, Today. The balance of his typically generous setlist was familiar, including: Handy Man, Fire and Rain, Up on the Roof, Sweet Baby James, You’ve Got a Friend, Buddy Holly’s Everyday. Over the course of the nearly three hour show (including encores), everybody in the band and vocal quartet got the spotlight. Michael Landau, Luis Conte, Walt Fowler, Andrea Zonn, Kate Markowitz, Arnold McCuller, David Lasley, Larry Goldings, Steve Gadd, Lou Marini, Jimmy Johnson. His wife Kim and son Henry joined the vocalists for a couple numbers, too.

2014 A Prairie Home Companion at Tanglewood

With a bevy of harmonious beauties in tow, and bluesman Keb Mo, Garrison Keillor returned to the Koussevitsky Music Shed at Tanglewood for the 15th year in a row. This is a case where familiarity breeds competition and comparison. Audience members were heard bragging about being at the 1st Tanglewood show, or having their greeting read by Keillor at last year’s. We even overheard a debate on the lawn over the relative merits of Wailin Jennys, The DiGiallonardo Sisters, each of whom have made several appearances and both today.

Pre-show serenade for Tanglewood picnickers

Longest encore in radio show business

And knowing a late June evening in the Berkshires had to be savored, he stretched the show until every moment of daylight had been exhausted. There’s just a quiet moment on stage when the broadcast ends at 8PM; the applause builds steadily, evincing the audience’s appetite for more, which gets fulfilled, in ample measure. Today, Garrison and company kept the party going until after nine. They improvised an impressive setlist, including such audience favorites and sing along standards as Going to the Chapel, Brown-Eyed Girl, Sweet Caroline, Swing Low Sweet Chariot, Honky Tonk Woman, You’ve Got a Friend, and Amazing Grace.

It was a beautiful day in the Berkshires – what they used to call “chamber of commerce” weather; for more, do visit the American Public Media do a great job maintaining audio and video archives of A Prairie Home Companion.

Monty Alexander Trio at Tanglewood

August 25, 2004 performance; by Dave Read

Monty Alexander peered out from the Ozawa Hall stage at Tanglewood, saw the auditorium half full, and proceeded to deliver a concert of upbeat and optimistic music to an enthusiastic audience that occupied way less than half the hall. Such is the nature of the Jamaican-born pianist, whose reputation apparently carries insufficient weight in the Tanglewood market, despite a fifty year career, more than 60 albums as a leader, and performance credits with legends of jazz including Dizzy Gillespie, Frank Sinatra, Benny Golson, and Oscar Peterson.

The concert began with a piece that quoted I Got Rhythm, begun by drummer Dennis Mackrel (Obed Calvaire was listed in the program) and bassist Hassan Shakur before Alexander made his entrance. A few minutes later, his composition Look Up seemed to be running alongside the A Train, and the next tune, Just Wait, was written in response to a successful bout with cancer.

Mr. Alexander evinced an easy rapport with the audience, even if he did seem to value his early experience with Sinatra more highly than today’s jazz fan would. And he was as generous with his sidemen as any leader could be. He stood aside while Shakur took a long ambling solo that somehow encountered The Pink Panther along the way. Other familiar tunes heard tonight were Come Fly With Me, Day O, The Battle Hymn of the Republic, and Sweet Georgia Brown.

The BSO was bolder than usual during the 2013 Tanglewood season with its “Popular Artist” programming. Tonight’s program had all the requisite merit on the artistic side, but as with a few earlier events, the marketing effort wasn’t up to par. That is unfortunate because, just as a full house can raise the level of excitement, a nearly empty one can be an un unhappy distraction.

Beethoven’s Ninth closes BSO’s 2013 Tanglewood season

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.