![]() Vigeland ( How Harvard Makes Its Money ) is at his best in conveying the emotive power of music, making palpable the feelings of the musicians when a concert goes well and they are overwhelmed at the sound they have made. Audience members in this nearly sold out symphony center sat in rapt amazement at the sheer volume of musical talent collected on one stage. Instruments are being donated to deserving students. on November 22, 1963, the musicians of the Boston Symphony Orchestra already onstage at Symphony Hall for a Friday. We also meet concertmaster Malcolm Lowe, orchestra manager Anne Parsons, choral director John Oliver learn about union problems sit in on auditions witness the intensity of rehearsals. In fact, the Symphony’s season began not onstage, but with the commencement of education and community outreach programs that continue today. (Underwood & Underwood/Corbis) Mike Barry JanuJust after 2 p.m. Primarily, we follow slightly paranoid principal trumpet Charlie Schlueter and his strained relationship with music director Seiji Ozawa, who is not given to fraternizing with the musicians. ![]() A keen observer, and perhaps more of a tattletale than certain BSO members will like, the author takes us through the 1986-1987 season at Symphony Hall and concerts at Tanglewood (Mass.), Connecticut and Washington, D.C. Demystifying and humanizing the august Boston Symphony Orchestra-and expertly discussing, as the book's leitmotif, the intricacies of Mahler Two, a BSO specialty-Vigeland presents such an agreeable portrait that he makes the reader want to subscribe to the orchestra's upcoming season.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |