Using small but specific inflection in rhythm and phrasing, at times staying slightly behind the pulse, Schulz brought this into monodrama. This was more, a real performance with a dramatic sense of characterization beyond the notes on the page. Schultz was technically fine, floating atop the orchestra and in command the whole way. The accompaniment is spare, the voice does almost all the work, but unlike an opera aria the sound and style are otherworldly-it’s a creation myth sung by the creator themselves. The soprano was impressive in this subtly challenging part. Soprano Golda Schultz was the soloist in Sibelius’s Luonnotar with the Boston Symphony Orchestra Tuesday night. Hearing the gleam of Golda Schultz’s voice against the quiet, feathery strings in Luonnotar began this compelling sonic experience. Few orchestras can sound as big as this one and tuttis were overwhelming, bringing out the great textures and atmospheres in the composer’s music. The BSO has been a great Sibelius orchestra since the Serge Koussevitzky era, in no small part due to its rich sound: the string grain, dark colors with pinpoints of light, the extremely rounded horns, and the overall ability to play with great beauty and expression whether the sound was small and focused or enormous. This emphasis on the Finnish composer was the central pleasure of the concert. The violinist returned after intermission as the solo voice in Thomas Adès’ Air (Homage to Sibelius), the proceedings then capped with the Sibelius Symphony No.
With music director Andris Nelsons conducting, the concert opened with Sibelius’s tone poem Luonnotar, followed by Mutter in Mozart’s Violin Concerto No. Those two names in the same venue usually means Mutter is playing the composer’s Violin Concerto. The second of the Boston Symphony Orchestra’s two nights at Carnegie Hall had two features: the music of Jean Sibelius and the playing of violinist Anne-Sophie Mutter. God opens His door for a moment and His orchestra plays the Fifth Symphony.Anne-Sophie Mutter performed music of Mozart and Thomas Adès with Andris Nelsons and the Boston Symphony Orchestra Tuesday night at Carnegie Hall. But I already begin to see dimly the mountain that I shall certainly ascend. Sibelius had jotted these words in his notebook: “In a deep valley again.
He had scarcely settled into his life again when, to his horror and disbelief, virtually all Europe was at war. Jean Sibelius must have still been feeling the glow of his recent successful visit to America when on his return home, he heard the news of the assassination at Sarajevo of the heir to the Austrian throne. The finale is reminiscent of a tarantella, the south Italian dance inspired by a tarantula bite.
JEAN SIBELIUS SYMPHONY NO 5 TV
The first movement’s theme derives from a 1950s TV show tune, while the second tries to weave a longer, enduring melody from wisp-like fragments. John Adams’s Must the Devil Have All the Good Tunes? is a piano concerto inspired by a line in an old New Yorker article about the radical Catholic social justice activist Dorothy Day (echoing a quote attributed to various sources). Ammons: “He held radical light / as music in his skull: music / turned, as / over ridges immanences of evening light rise.” He wrote Radical Light for Esa-Pekka Salonen and the Los Angeles Philharmonic, intending it as companion to symphonies by Jean Sibelius. Steven Stucky was one of the preeminent American composers of the late twentieth and early twenty-first centuries.
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