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The intellectual and emotional intelligence of the docket stands as a conspicuous example of exemplary programmatic creativity.
The Seattle Symphony does right by Langgaard but not Strauss; Esa-Pekka Salonen’s Beethoven is micromanaged to death; Brandenburgisches Staatsorchester offers an ideal off-the-beaten-path Offenbach disc.
If Thursday’s performance of Mahler’s Second Symphony by the Boston Symphony Orchestra and the Tanglewood Festival Chorus was marked by some untidiness, the broad picture to emerge was one of often thrilling, Apollonian grandeur.
The special categories tend to get overlooked, or sampled erratically, in the new releases lists, so Francis Davis thought a nudge might help.
Andris Nelsons presided over an interpretation of Mahler’s Symphony #2 that was both tightly controlled and emotionally cathartic.
Could it be that Erich Wolfgang Korngold’s Symphony in F-sharp is the big kahuna of our symphonic music?
If a few of his tempos, particularly in the opening movement, weren’t among the liveliest on record, there was a gravitas and underlying conviction to Mr. von Dohnányi’s interpretation of “A German Requiem” that were wholly appropriate to the piece and its appearance on a program that was presented during Holy Week.
While the orchestra’s program was almost defiantly canonical, it was played with such lightness and energy that you could forgive its disappointing safeness.
Under Michael Tilson Thomas’s leadership, the San Francisco Symphony Orchestra’s sound has been refined and tightened; its repertoire has grown to embrace American music of all stripes.
After the “Lobgesang”’s premiere, Robert Schumann declared this movement “a glimpse of heaven filled with Raphael’s madonnas,” and Saturday’s performance by the BSO came about as close to that as one could imagine, sensitively phrased and beautifully blended.
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