Symphony Hall, Boston, MA. Balcony Center (Seat E15, $60.50).
Program
Starling Variations (2022) by Elizabeth Ogonek (b. 1989).
Serenade (after Plato's Symposium), for violin and orchestra (1954) by Bernstein (1918-1990).
Chichester Psalms (1965) by Bernstein.
Symphony No. 3 in E-flat, Op. 20, The First of May (1929) by Shostakovich (1906-1975).
Artists
Tanglewood Festival Chorus, James Burton, conductor.
Linus Schafer-Goulthorpe, boy soprano.
Solo Quartet: Natalia Hubner, soprano; Lena Costello, alto; Stephen Chrzan, tenor; Matthew Christopher, bass.
We were visiting the area for a few days, and had time to take in this concert. Except for a couple of Princeton Chamber Concerts, this would be the first "full scale" concert we went to since our European trip (last concert on that trip was Andrea Chenier at Deutsche Oper Berlin).
Ogonek came on stage before her piece was performed to talk about her (planned) three sets of variations which she calls a triptych. The first set is titled Cloudline based on "looking up." Today's title is self-explanatory: the inspiration is from the murmurations of starlings that one sometimes sees. A third piece will be performed by the San Francisco Symphony in January, 2023. These and her other compositions speak well for this young composer. And she is an assistant professor of composition at Cornell.
The word "variations" in the title is not meant in the traditional sense. They are just episodes Ogonek composed illustrating different musical moods, again inspired by starling murmurations. If one conjures up these images in one's mind, and try to imagine music that describes them, what I heard today would be far from it. The music is interesting, quite accessible even on a first hearing, but without being primed would not make one think of starling flittering about; not in my case, anyway.
Bernstein's serenade was composed on a commission from the Koussevitzky Foundation, but was premiered in Venice, Italy. Bernstein wrote a commentary on this work the day after he completed the score. Many references can be found on this, but I note with interest the take by Houston Symphony (Article dated Feb 20, 2018). The commentator states that Athenians at that time would understand the "love" being spoken in Plato's Symposium would be male homosexual love. I don't know how well the music can make that point though. Regardless, it was an interesting piece of music, requiring different skills from the solo violin. One could do a detailed comparison of Bernstein and Plato, and determine how well Bernstein reflects Plato (as the Houston Symphony article did), or one can simply listen to the music and let it evolve, as I did today.
Janine Jenson was going to be the soloist, but withdrew because of illness. Koh's violin sounded a bit weak at times, but it had a great sound which Koh used to excellent effect. It turns out I had listened to this a few years back, with Joshua Bell and the New York Philharmonic. The five movements are (1) Phaedrus; Pausanias (Lento - Allegro); (2) Aristophanes (Allegretto); (3) Erixymachus (Presto); (4) Agathon (Adagio); and (5) Socrates; Alcibiades (Molto tenuto - Allegro molto vivace).
Jennifer Koh at conclusion of Bernstein's Serenade.
Photo taken while stage was being rearranged for the next piece to be performed. Why are some chairs black, while most are white? And I forgot to take a photo when Ogonek was on stage: a bit rusty in my blogging routine.
Chichester Psalms was a commission from the Very Rev. Walter Hussey, Dean of Chichester Cathedral, Sussex, England. It was first performed by the New York Philharmonic before being performed at Chichester. The composer envisioned an all-male chorus, with treble parts sung by boys. Both the first performance and today's used women for the high voices.
The work comprises of three movements, each with texts in Hebrew from one complete Psalm and selected verses from another Psalm. The Reverend provided further contexts/requests: use of all-male choir, availability of instruments, reference to Psalm 2, and - most interestingly - that he wouldn't mind reference to West Side Story. Bernstein certainly met the Reverend's expectations, and we hear a few references to the Broadway Show.
The three movements are (1) Psalm 108 (v. 2); Psalm 100 (complete) Maestoso ma energico - Allegro molto; (2) Psalm 23 (complete); Psalm 2 (v. 1-4) Andante con moto, ma tranquillo - Allegro feroce; (3) Psalm 131 (complete); Psalm 133 (v. 1) Prelude - Sostenuto molto - Peacefully flowing.
With some prior knowledge of these psalms, I found the composition speaking well to the different messages in the texts. The vocal parts were sung well.
At the conclusion of Bernstein's Chichester Psalms. Note the boy soprano in front. This photo was time-stamped 3:13 pm, and we still have a full Shostakovich Symphony to go.
Over the years I have heard quite a few of Shostakovich's Symphonies (there are 15 of them). This was my first encounter with his third. As far as I could tell, anyway; I don't know any of his symphonies well enough to tell which ones I have heard before.
Shostakovich is well-known for being in and out of the good graces of the Soviet government. There certainly would be no problems with this one, titled "the First May Day," and including lyrics such as "every May Day is a step towards socialism." Of course one can read all kinds of sarcasm and parody into the music and the lyrics. Unfortunately when one tries to decipher the political message one tends to lose sight of the music, which - per the Program Notes - can be quite interesting. First, Shostakovich claims that not one single theme would be repeated. In trying to listen to the political message (which, except for the obvious, I didn't get), I didn't pay attention to this aspect. The second point was this work is very tonal, especially in comparison with the Second Symphony. It was indeed quite easy to get. There was this long timpani passage that seemed to go on forever. It started at about the :20 mark, and went on for about nine pages, with a one measure break. (From examining this YouTube video.)
There is only one movement. The markings provided in the Program Notes are Allegretto - Piu mosso - Allegro - Andante - Allegro - Andante - Largo - Moderato, "On the first May Day." The chorus sang at the end of the piece.
The Symphony isn't very long at a little over 30 minutes. However, the program had other substantial pieces, so the concert (which started reasonably promptly) didn't end until 3:50 pm.
End of concert. 3:53 pm time stamp on this photo.
We took Uber both ways. Traffic was already piling up on the way back. The driver is a painter from New Hampshire, and talked effusively about his craft, and how he learned to do it from watching Bob Ross videos.
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