The Baltimore Symphony Orchestra opened its 2009-2010 season with an eclectic mix of Brahms (Hungarian Dances), a new concerto composed by Jennifer Higdon for the hybrid classical-country-jazz trio Time for Three, and a big, sweeping Tchaikovsky (Symphony No. 4). The evening’s music was a powerful reminder of the diversity and power of classical music.
In an era when many listeners, even fans such as this writer, lack a thorough background knowledge of classical music, it is extremely helpful to have something like this video, in which BSO music director Marin Alsop talks about the ideas, composers, musicians, and works featured in the orchestra’s opening concerts this year:
The young men of “Time for Three” are clearly and abundantly talented. They embraced the spotlight afforded by Higdon’s composition and threw themselves into the experience. I was a little put-off by their showy performance style–the grasping, swaying, and nodding seemed a little gimicky and overdramatic. Their best moment was an encore–their exuberant version of “Orange Blossom Special” which brought smiles and applause even from the seated members of the orchestra and a big ovation from the audience.
The variety and unpredictability of the first half of the evening set the stage very well for the passionate, big, romantic, and very Russian 4th symphony of Tchaikovsy. It was a transcendant experience.
Overall, spending two hours immersed in live classical music (for the first time since my daughter was born) was meditative, stimulating, and broadening all at once. I could almost feel underused neurons waking and stretching. I came away more convinced than ever that our hyperactive micro-pixelated daily information overload requires us to step back occasionally and take in a broader view.
Before the performance, the BSO welcomed local and regional bloggers with a reception and panel discussion with the Baltimore Sun’s Tim Smith, the Washington Post’s Anne Midgette, and Charles Downey of Ionarts. The BSO is making a concerted effort [unintentional pun] to involve professional and amateur voices from new media to enlarge the conversation about live performances of classical music.
One theme that emerged from the discussion is how trained critics are also educators. Reading the informed opinion of a well-schooled listener can enhance the experiences of impassioned amateurs (and the traditional critics can gain a lot from the communities that gather round their writing and blogging).
Cases in point are the reviews and comments already posted by the critics and bloggers who attended the opening night festivities:
- The Baltimore Sun‘s Tim Smith at “Clef Notes”
- Charles Downey writing at Ionarts
- Mike Unger at Baltimore.about.com
These are just a few examples of how “new media” are sustaining conversation about “old” but enduring forms of art and expression. It’s heartening to see that Baltimore Symphony Orchestra is doing so much to deepen and expand that discussion.
{ 0 comments }
