The BSO is loaning iPads to concertgoers during performances in hopes of drawing new audiences to classical music. But as part of an effort to draw in a younger audience, the Boston Symphony Orchestra is loaning select patrons iPads loaded with content specific to each performance. But other orchestras are also trying to incorporate technology.
December — It seems unthinkable to leave this year, the th anniversary of his birth, without a salute to the genius of Wolfgang Amadeus Mozart.
Although barely appreciated in his own time, since his demise we've come to regard Mozart in terms of religious awe.
While the brilliance and perfection of his operas, concerti, chamber music, serenades and sonatas are widely hailed for their ideal integration of form and feeling, perhaps the most stunning distillation of his astounding genius arose in his last three symphonies, written in a miraculous blaze during the summer of along with at least a half-dozen other works.
They form an extraordinary trio — 41 in C-Major presents a dazzling summation of Mozart's past, 39 in E-flat Major encapsulates the art of his present, and 40 in g-minor vaults into the future and the music of our own time.
Like Mozart's final work, the Requiemthe inspiration and genesis of his last symphonies is shrouded in mystery. Although he duly entered them in the thematic catalog in which he recorded the opening of each completed composition, Mozart never once mentions any of them in his copious correspondence, which fosters our understanding of nearly all his other major compositions.
Nor have historians found any evidence of a commission for which nearly all his other work was written to ordernor even an indication of a concert for which they might have been intended. Scholars still can only speculate why they were written. Three principal theories have emerged.
Possibly, they were intended for a series of subscription concerts in June and July that never materialized or were cancelled for An analysis of the waning audience of the boston symphony orchestra interest as Mozart's career was then in a slump from which it would only recover posthumously.
Or, Mozart may have planned to present them during a trip to England as Haydn would do in where German composers, led by Handel, had already met with great artistic and, for Mozart, much-needed financial success. Or, he might have hoped to publish them as a single opus, which at the time often consisted of three complementary works in the same genre.
But perhaps the most compelling explanation is held by Martin Bookspan, among others, who credits these works to an inner compulsion to create - a matter of personal expression without regard to the demands of patrons or public.
That motivation, in turn, goes far to explain their extraordinary scope and striking ingenuity, which surely would have been lost on audiences of the time, and especially during only a single hearing at a typical concert.
Abstract creativity also accounts for their internal unity and continuity, since symphonies at the time routinely were split in half to open and close a concert, sandwiching two hours of intervening arias, concerti and even improvisations. Taken together, the three final symphonies seem to explore Mozart's personality.
Despite their striking diversity, all three symphonies share a common innovation by shifting emphasis from the traditionally weightiest first movements to their finales, each of which contains an astounding bravura artistic gesture.
Mozart began his career as a burgeoning symphonist. Before leaving his teens, he wrote several dozen symphonies that, while respectful of his models, consistently transcend juvenilia with superb craftsmanship and inventive touches.
The standard numbering lists only 41, but was established by a publisher in the s; since then, research has uncovered twenty-five more symphonies and found that 37 was mostly by Michael Haydn, for which Mozart merely had written a bar introduction.
Yet Mozart had written only one symphony in the prior five years - the vibrant "Prague", which, as with all his prior work, he wrote for a specific purpose - here, to present in the city where his operas had triumphant success.
The first of Mozart's final symphonies to emerge during that miraculous summer was 39 in E-flat Major. The first edition of 39 Nestled comfortably within its era and the most modest of the three, its high inspiration easily would have crowned the career of nearly any other contemporary.
It begins with a rejection of the past and a firm assertion of insistence of contentment to dwell in the present, as the stately introduction enters in the double-dotted rhythm of a baroque French overture but then flouts the suggestion by rising to a climax as tympani lead the full orchestra to pound out a single-dotted rhythm, as if to defy any suggestion of lapsing into the old manner.
The finale presents a startling personalizing of classical style. Although through Mozart's irrepressible invention we hardly notice, it's based entirely on a single theme, as if to boast that of all composers he alone would dare to - and could - succeed with such a virtuoso feat.
Yet from the outset it was the finale that drew notice. Its first, posthumous, publication which designated it as Mozart's fourth symphony, thus suggesting how few had been issued during his lifetime distinguished it as being "with fugue," yet the extraordinary density and brevity of the ending hardly qualify in the established sense of that term.
Even though the proliferation of counterpoint, frequent imitative figures and profusion of melodies throughout the movement provide ample hints of what is to come, it's still a surprise and delight when, after Mozart teases us by toying with an inversion of the main theme, the last minute explodes in an astounding display of polyphony.
The complexity of the coda is impossible to grasp upon a single hearing, or even just a few, yet, teasingly it's one of the few sections of the work not marked with a repeat. Not only does it display Mozart's thorough mastery of his predecessors' art, but it resonates with personal significance as closure to his symphonic career - Neal Zaslow notes that the primary theme - whole notes of C-D-F-E - was not only a well-known Gregorian chant but the theme of Mozart's very first symphony, written when he was eight!
The sheer craftsmanship of the coda and its extraordinarily tight structure are breathtaking, and all the more amazing as it sounds wholly instinctive. Leonard Ratner charts the permutation of its five themes as rotating strictly through the five string instruments every four measures, doubled by various winds, while a "rhythm section" of horns, trombones and tympani pound out the pulse.
Entrances comfortably alternate on tonic and dominant, the final note of each appearance gliding smoothly into the beginning of the next only a whole tone apart, so that the interval rises and falls in a set pattern. The regularity of the scheme integrates the diverse personalities of the disparate themes that range from gently undulating whole notes to leaping intervals and syncopated rapid runs.Saturday’s gala inaugural concert by and for Andris Nelsons as music director of the Boston Symphony Orchestra was about so much more than the works being performed—high hopes for the future, high-profile soloists, high-wattage television lights on everything including the audience, even a high.
Boston Symphony Orchestra who took time out to meet with us and provide While we could not have completed the work without the cooperation of BSO, the analysis of this data is totally objective and based upon ‘inter-industry’ or ‘input-output’ analysis.
of audience visitors who come from outside Massachusetts. The county impacts. The Boston Symphony Orchestra has an economic impact of more than $ million on the state’s economy, according to a recent third-party analysis commissioned by the symphony.
That figure. One should not judge a performance by its audience, but spying Mitsuko Uchida in the audience is unlikely ever to prove a negative sign. shows no signs of waning. The Boston Symphony Orchestra, at their best, delved deep into the soul of this music; but there was also some very shaky ensemble, perhaps a little uncharacteristic for this.
To whom it may concern, Many of the most highly praised and influential orchestras, such as the Boston Symphony Orchestra, face a looming issue - their main audience is not growing. However, younger generations are constantly developing new interests and pastimes, so it is much too risky to.
Jan 18, · In Boston, Noltemy says the symphony orchestra has taken steps to make sure it isn’t alienating its core audience.
For now, the iPads will be offered .