University of Virginia Library

Symphony Justifies Boston's Pride

By Myles Tronic

Joseph Silverstein - Symphony Violinist

Jules Eskin - Symphony Cellist

Bostonians can always tell if a person is an outsider if he should happen
to utter the simple sentence, "I am going to the Symphony this evening,"
in referring to the Boston Symphony. Indeed, the people of Boston never
use the definite article when talking about the BSO. Thus, it is "I am going
to Symphony this evening," as if the Boston Symphony Orchestra were the
world's only existing symphony orchestra. To be sure, the Boston
Symphony's performance Monday night in University Hall, marking the
beginning of the Artists Series, perhaps somewhat justifies Boston's
arrogant pride.

Before an audience of approximately two thousand, Symphony
performed works by Beethoven, Brahms, Starer, and Strauss under the
baton of its new Conductor and Music Director, William Steinberg. The
concert opened with the "Overture to 'The consecration of the house' opus
124" of Beethoven.

The overture, which is among the last works of Beethoven, was
certainly the most brilliant piece of music among those performed. The
piece is essentially a reversion back to the much earlier style of Handel, and
without doubt, no greater tribute could be payed to the Baroque Period
than this powerful overture.

With just the right tempo, Steinberg led Symphony's players in a
beautiful execution of the overture. However, the brasswinds, with the
exception of the trumpeter, could have payed a greater tribute to
Beethoven by doing the brass passages just a little more justice. The BSO
rarely plays Beethoven any way but impeccably, but the brasswinds were
decidedly unfaithful to this great composer in making what were supposed
to be passages of Handelian triumph passages of Wagnerian pomposity.

The second work, the Brahms "Symphony no. 2 in D" was excellently
excellently done by all of the
orchestra, although the brass
section was a bit too overbearing at
the beginning of the work. By the
end of the first movement, with its
majestic moments, the horns finally
seemed to have warmed up. There
were a certain few in the audience
who applauded at the end of this
movement either because of great
enthusiasm or hope that the
symphony was over. If the latter
was the case, these bored
individuals had three more
movements to sit out before the
intermission. From the second
movement on, Brahms' Second
Symphony was played faultlessly
by all the members of the BSO. The
glorious ending was made even
more exciting by the rich color of
the brasswinds which were, by this
time, in full swing.

Following the intermission or
"Coke time", the "Concerto for
violin, cello, and orchestra" of
Starer was heard. This work which
had its world premiere only last
year, has a somewhat standard
instrumentation with the addition
of a snare drum, two suspended
cymbals, large gong, xylophone,
and harp.

For the most part, the concerto
could have given the listener the
impression he was listening to the
sound track of a third rate science
fiction movie. Nevertheless, it must
be said that the concerto would be
a technical challenge for any two
violin-cello soloists, and to be sure,
Joseph Silverstein, violin, and Jules
Eskin, cello, were excellent in their
treatment of this work. It is indeed
very much open to question as to
whether this concerto is more
demanding on the performing
soloists or the listener. The
members of the orchestra simply
have to grin and bear it all. At best,
this concerto gave the program a
great deal of diversity which is an
element common to almost all of
the Boston Symphony's concert
programs.

The concert's concluding work,
"Till Eulensplegel's Merry Pranks"
by Richard Strauss, was played
with all the zest and lust it
required. Symphony was truly at its
best in executing not only the
bright, almost flamboyant passages
but also the more moving and
elegantly romantic themes. In light
of Symphony's performance, "Till
Eulensplegel" proved the highlight
of the concert which was well
responded to by the audience.

Having been brought up near
Boston, I reluctantly make mention
of an old saying, that the Bostonian
mind, like the soil of Massachusetts,
is naturally barren but highly
cultivated. If this is really so,
Boston owes Symphony a great
debt in supplementing that natural
barrenness, and thus, that city had
better be arrogantly proud of the
BSO.