Arthur Honegger (French: [aʁtyʁ ɔnɛɡɛːʁ]; 10 March 1892 – 27 November 1955) was a Swiss composer, who was born in France and lived a large part of his life in Paris. He was a member of Les Six. His most frequently performed work is probably the orchestral work Pacific 231, which was inspired by the sound of a steam locomotive.
Biography
Born Oscar-Arthur Honegger (the first name was never used) to Swiss parents in Le Havre, France, he initially studied harmony and violin in Le Havre. After studying for two years at the Zurich Conservatory he enrolled in the Paris Conservatoire from 1911 to 1918, studying with both Charles-Marie Widor and Vincent d'Indy. He made his Paris compositional debut in 1916 and in 1918 wrote the ballet Le dit des jeux du monde, generally considered to be his first characteristic work. In 1926 he married Andrée Vaurabourg, a pianist and fellow student at the Paris Conservatoire, on the condition that they live in separate apartments because he required solitude for composing. They lived apart for the duration of their marriage, with the exceptions of one year from 1935 to 1936 following Vaurabourg's injury in a car accident, and the last year of Honegger's life, when he was not well enough to live alone. They had one daughter, Pascale, born in 1932. Honegger also had a son, Jean-Claude (1926–2003), with the singer Claire Croiza.
In the early 1920s, Honegger shot to fame with his "dramatic psalm" Le Roi David (King David), which is still in the choral repertoire. Between World War I and World War II, Honegger was very prolific. He composed the music for Abel Gance's epic 1927 film, Napoléon. He composed nine ballets and three vocal stage works, amongst other works. One of those stage works, Jeanne d'Arc au bûcher (1935), a "dramatic oratorio" (to words by Paul Claudel), is thought of as one of his finest works. In addition to his pieces written alone, he collaborated with Jacques Ibert on both an opera, L'Aiglon (1937), and an operetta. During this time period he also wrote Danse de la chèvre (1921), an essential piece of flute repertoire. Dedicated to René Le Roy and written for flute alone, this piece is lively and charming, but with the same directness of all Honegger's work.
Honegger always remained in touch with Switzerland, his parents' country of origin, until the outbreak of the war and the invasion of the Nazis made it impossible for him to leave Paris. He joined the French Resistance and was generally unaffected by the Nazis themselves, who allowed him to continue his work without too much interference. He also taught composition at the École Normale de Musique de Paris, where his students included Yves Ramette. However, he was greatly depressed by the war. Between its outbreak and his death, he wrote his last four symphonies (numbers two to five) which are among the most powerful symphonic works of the 20th century. Of these, the second, for strings, featuring a solo trumpet which plays a chorale tune in the style of Bach in the final movement, and the third, subtitled Symphonie Liturgique with three movements that evoke the Requiem Mass (Dies irae, De profundis clamavi and Dona nobis pacem), are probably the best known. Written in 1946 just after the end of the war, it has parallels with Benjamin Britten's Sinfonia da Requiem of 1940. In contrast with this work is the lyrical, nostalgic Symphony No. 4, subtitled "Deliciae Basilienses" ("The Delights of Basel"), written as a tribute to days of relaxation spent in that Swiss city during the war.
Honegger was widely known as a train enthusiast, and once notably said: "I have always loved locomotives passionately. For me they are living creatures and I love them as others love women or horses." His "mouvement symphonique" Pacific 231 (a depiction of a steam locomotive) gained him early notoriety in 1923.
Many of Honegger's works were championed by his longtime friend Georges Tzipine, who conducted the premiere recordings of some of them (Cris du Monde oratorio, Nicolas de Flüe).[1]
In 1953 he wrote his last composition, A Christmas Cantata. After a protracted illness, he died at home in Paris of a heart attack on 27 November 1955 and was interred in the Saint-Vincent Cemetery in the Montmartre Quarter.
The principal elements of Honegger's style are: Bachian counterpoint, driving rhythms, melodic amplitude, highly coloristic harmonies, an impressionistic use of orchestral sonorities, and a concern for formal architecture. His style is weightier and more solemn than that of his colleagues in Les Six. Far from reacting against German romanticism as the other members of Les Six did, Honegger's mature works show evidence of a distinct influence by it. Despite the differences in their styles, he and fellow Les Six member Darius Milhaud were close friends, having studied together at the Paris Conservatoire. Milhaud dedicated his fourth string quintet to Honegger's memory, while Francis Poulenc similarly dedicated his Clarinet Sonata.
Legacy
Honegger was pictured on the Swiss twenty franc banknote (eighth series), issued October 1996 and replaced in 2017.
Honegger's symphonic movement Rugby was recorded with him conducting the Paris Symphony Orchestra in a 1929 electrical recording, which can be heard on YouTube.[2] Many of Honegger's recordings as conductor of his music have been reissued on CD by Pearl and Dutton.[3]
For Honegger's notable students, see List of music students by teacher: G to J § Arthur Honegger.
The ice hockey player Doug Honegger is his grandnephew.[4]
Notable compositions
Opus numbers originate from the complete catalogue by Harry Halbreich. For a longer list of compositions, see List of compositions by Arthur Honegger. For a list of select recordings, see Arthur Honegger discography.
Orchestral Music :
Symphonies :
1930 : H 75 First Symphony
1941 : H 153 Second Symphony for strings and trumpet in D
1946 : H 186 Third Symphony (Symphonie Liturgique)
1946 : H 191 Fourth Symphony in A (Deliciae basiliensis)
1950 : H 202 Fifth Symphony in D (Di tre re)
Symphonic Movements :
1923 : H 53 Pacific 231 (Symphonic Movement No. 1)
1928 : H 67 Rugby (Symphonic Movement No. 2)
1933 : H 83 Symphonic Movement No. 3
Concerti :
1924 : H 55 Concertino for piano and orchestra in E major
1929 : H 72 Concerto for cello and orchestra in C major
1948 : H 196 Concerto da camera, for flute, English horn and strings
Others :
1917 : H 16 Le chant de Nigamon
1920 : H 31 Pastorale d'été
1923 : H 47 Chant de joie (Song of Joy)
1951 : H 204 Monopartita
Oratorios :
1921 : H 37 Le roi David (King David) libretto by René Morax, version for orchestra in 1923
1935 : H 99 Jeanne d'Arc au bûcher, libretto by Paul Claudel, version with prologue in 1941
1938 : H 131 La danse des morts, (The Dance of the Dead) libretto by Paul Claudel
1953 : H 212 Une cantate de Noël (A Christmas Cantata)
Operas :
1903 : Philippa, not orchestrated, performed, or published
1904 : Sigismond, lost
1907 : La Esmeralda, after Victor Hugo's Notre-Dame de Paris, unfinished and unpublished
1918 : La mort de sainte Alméenne, libretto by M. Jacob, unpublished and only Interlude orchestrated
1925 : Judith, libretto by René Morax, premiered at the Opéra de Monte-Carlo on 13 February 1925
1927 : H 65 Antigone, libretto by Jean Cocteau based on Sophocles, premiered at La Monnaie on 28 December 1927
Operettas :
1925 : H 108 L'Aiglon, co-written with Jacques Ibert; libretto for acts 2–4 by H. Cain, after E. Rostand, libretto for acts 1 and 5 by Ibert, Opéra de Monte-Carlo, 10 March 1937
1930 : Les aventures du roi Pausole, libretto by A. Willemetz, after P. Louÿs, premiered 12 December 1930, Paris, Bouffes-Parisiens
1931 : La belle de Moudon, libretto by René Morax, , Mézières, Jorat, Switzerland, 30 May 1931, unpublished
1937 : Les petites cardinal, libretto by Willemetz and P. Brach, after L. Halévy, Paris, Bouffes-Parisiens, 13 February 1938
Ballets :
1918 : H 19 Le dit des jeux du monde
1921 : H 38 Horace victorieux, symphonie mimée
Chamber music :
1917 : H 15 String Quartet No. 1 in C minor
1935 : H 103 String Quartet No. 2 in D
1937 : H 114 String Quartet No. 3 in E
1945 : H 181 Paduana for cello solo
1947 : H 193 Intrada for C trumpet and piano
Piano Solo Works 1910 : Three Pieces (Scherzo, Humoresque, Adagio)
1916 : Toccata and Variation
1915–9 : Three Pieces (Prelude, Homage to Ravel, Danse)
1919–20 : Seven Short Pieces
1920 : Sarabande (for Album de Six)
1923–4 : Le Cahier Romand
1928–9 Hommage to Albert Roussel
1932 : Prelude, Arioso and Fughetta on the name BACH
1941 : Petits Airs sue une basse celebre
1943–4 : Two Sketches
"Les Six" (pronounced [le sis]) is a name given to a group of six French composers who worked in Montparnasse. The name, inspired by Mily Balakirev's The Five, originates in critic Henri Collet's 1920 article "Les cinq Russes, les six Français et M. Satie" (Comœdia [fr], 16 January 1920). Their music is often seen as a reaction against the musical style of Richard Wagner and the impressionist music of Claude Debussy and Maurice Ravel.
The members were Georges Auric (1899–1983), Louis Durey (1888–1979), Arthur Honegger (1892–1955), Darius Milhaud (1892–1974), Francis Poulenc (1899–1963), and Germaine Tailleferre (1892–1983).
Les nouveaux jeunes
In 1917, when many theatres and concert halls were closed because of World War I, Blaise Cendrars and the painter Moïse Kisling decided to put on concerts at 6 rue Huyghens [fr], the studio of the painter Émile Lejeune (1885–1964). For the first of these events, the walls of the studio were decorated with canvases by Picasso, Matisse, Léger, Modigliani and others. Music by Erik Satie, Honegger, Auric and Durey was played. It was this concert that gave Satie the idea of assembling a group of composers around himself to be known as Les nouveaux jeunes, forerunners of Les Six.
Les Six
According to Milhaud:
[Collet] chose six names absolutely arbitrarily, those of Auric, Durey, Honegger, Poulenc, Tailleferre and me simply because we knew each other and we were pals and appeared on the same musical programmes, no matter if our temperaments and personalities weren't at all the same! Auric and Poulenc followed ideas of Cocteau, Honegger followed German Romanticism, and myself, Mediterranean lyricism!
— Ivry 1996
But that is only one reading of how the Groupe des Six originated: other authors, like Ornella Volta, stressed the manoeuvrings of Jean Cocteau to become the leader of an avant-garde group devoted to music, like the cubist and surrealist groups which had sprung up in visual arts and literature shortly before, with Pablo Picasso, Guillaume Apollinaire and André Breton as their key representatives. The fact that Satie had abandoned the Nouveaux jeunes less than a year after starting the group, was the "gift from heaven" that made it all come true for Cocteau: his 1918 publication Le coq et l'Arlequin is said to have ticked it off.
After World War I, Jean Cocteau and Les Six began to frequent a bar known as "La gaya" which became Le Bœuf sur le Toit (The Ox on the Roof) when the establishment moved to larger quarters. As the famous ballet by Milhaud had been conceived at the old premises, the new bar took on the name of Milhaud's ballet.[2] On the renamed bar's opening night, pianist Jean Wiéner played tunes by George Gershwin and Vincent Youmans while Cocteau and Milhaud played percussion. Among those in attendance were impresario Serge Diaghilev, artist Pablo Picasso, filmmaker René Clair, singer Jane Bathori, and actor and singer Maurice Chevalier. Another frequent guest was the young American composer Virgil Thomson whose compositions were influenced by members of Les Six in subsequent years.[3][4][5][6]
The Group was officially launched in January 1920 by a series of two articles by the French music critic and composer Henri Collet in the French journal Commedia. While it seems apparent that Cocteau was behind these articles, the actual name of the Group was selected by Collet, who decided to compare Les Six with the five Russians.
Collaborations
Although the group did not exist in order to work on compositions collaboratively, there were six occasions spread over 36 years on which at least some members of the group did work together on the same project. On only one of these occasions was the entire Groupe des Six involved; in some others, composers from outside the group also participated.
Auric and Poulenc were involved in all six of these collaborations, Milhaud in five, Honegger and Tailleferre in three, but Durey in only one.
1920: L'Album des Six
In 1920 the group published an album of piano pieces together, known as L'Album des Six. This was the only work in which all six composers collaborated.
Prélude (1919) – Auric
Romance sans paroles, Op. 21 (1919) – Durey
Sarabande, H 26 (1920) – Honegger
Mazurka (1914) – Milhaud
Valse in C, FP 17 (1919) – Poulenc
Pastorale, Enjoué (1919) – Tailleferre
1921: Les mariés de la tour Eiffel
In 1921, five of the members jointly composed the music for Cocteau's ballet Les mariés de la tour Eiffel, which was produced by the Ballets suédois, the rival to the Ballet Russes. Cocteau had originally proposed the project to Auric, but as Auric did not finish rapidly enough to fit into the rehearsal schedule, he then divided the work up among the other members of Les Six. Durey, who was not in Paris at the time, chose not to participate. The première was the occasion of a public scandal rivalling that of Le sacre du printemps in 1913. In spite of this, Les mariés de la tour Eiffel was in the repertoire of the Ballets suédois throughout the 1920s.
Overture (14 July) – Auric
Marche nuptiale – Milhaud
Discours du General (Polka) – Poulenc
La Baigneuse de Trouville – Poulenc
La Fugue du Massacre – Milhaud
La Valse des Depeches – Tailleferre
Marche funèbre – Honegger
Quadrille – Tailleferre
Ritournelles – Auric
Sortie de la Noce – Milhaud
1927: L'éventail de Jeanne
In 1927, Auric, Milhaud and Poulenc, along with seven other composers who were not part of Les Six, jointly composed the children's ballet L'éventail de Jeanne.
Fanfare – Maurice Ravel
Marche – Pierre-Octave Ferroud
Valse – Jacques Ibert
Canarie – Alexis Roland-Manuel
Bourrée – Marcel Delannoy
Sarabande – Albert Roussel
Polka – Milhaud
Pastourelle – Poulenc
Rondeau – Auric
Finale: Kermesse-Valse – Florent Schmitt
1949: Mouvements du coeur
In 1949, Auric, Milhaud and Poulenc, along with three other composers, jointly wrote Mouvements du coeur: Un hommage à la mémoire de Frédéric Chopin, 1849–1949, a suite of songs for baritone or bass and piano on words of Louise Lévêque de Vilmorin in commemoration of the centenary of the death of Frédéric Chopin.
The other composers who contributed to the suite were Jean Françaix, Léo Preger and Henri Sauguet.
Prélude – Henri Sauguet
Mazurka – Poulenc
Valse – Auric
Scherzo impromptu – Jean Françaix
Étude – Léo Preger
Ballade nocturne – Milhaud
Postlude: Polonaise – Henri Sauguet
1952: La guirlande de Campra
In 1952, Auric, Honegger, Poulenc, Tailleferre and three other composers collaborated on an orchestral work called La guirlande de Campra.[7]
Toccata – Honegger
Sarabande et farandole – Jean-Yves Daniel-Lesur
Canarie – Alexis Roland-Manuel
Sarabande – Tailleferre
Matelote provençale – Poulenc
Variation – Henri Sauguet
Écossaise – Auric
1956: Variations sur le nom de Marguerite Long
In 1956, Auric, Milhaud, Poulenc and five other composers created an orchestral suite in honour of the pianist Marguerite Long, called Variations sur le nom de Marguerite Long
Hymne solennel – Jean Françaix
Variations en forme de Berceuse pour Marguerite Long – Henri Sauguet
La Couronne de Marguerites ("The Crown of Daisies"), Valse en forme de rondo – Milhaud
Nocturne – Jean Rivier
Sérénades – Henri Dutilleux
Intermezzo – Jean-Yves Daniel-Lesur
Bucolique, FP. 160[8] – Poulenc
ML (Allegro: Finale) – Auric
Selected music by individual members of Les Six
See also: Category:Compositions by Georges Auric, Category:Compositions by Louis Durey, Category:Compositions by Arthur Honegger, Category:Compositions by Darius Milhaud, Category:Compositions by Francis Poulenc, and Category:Compositions by Germaine Tailleferre
Salade by Milhaud; premiered 1924 in a production of Count Etienne de Beaumont
La nouvelle Cythère by Tailleferre; written in 1929 for the Ballets Russes and unproduced because of Diaghilev's sudden death
Cinq bagatelles by Auric
Les biches, ballet (1922/23) by Poulenc
Le Bal Masqué, cantate profane sur des poèmes de Max Jacob (Baritone, ensemble) (1932) by Poulenc
Scaramouche by Milhaud
Le bœuf sur le toit by Milhaud
Sonate pour violon seul by Honegger
Danse de la chèvre (Dance of the Goat) for solo flute by Honegger
Sonate champêtre for Oboe, Clarinet, Bassoon and Piano by Tailleferre
See also
Classical music portal
The Mighty Handful
American Five
Grupo de los Ocho
The Boston Symphony Orchestra (BSO) is an American orchestra based in Boston, Massachusetts. It is one of the five major American symphony orchestras commonly referred to as the "Big Five".[1] Founded in 1881, the BSO plays most of its concerts at Boston's Symphony Hall and in the summer performs at Tanglewood.
Andris Nelsons is the current music director of the BSO. Bernard Haitink currently holds the title of conductor emeritus of the BSO, and Seiji Ozawa has the title of BSO music director laureate.
History
Early years
Henry Lee Higginson, founding father of the BSO.
The BSO was founded in 1881 by Henry Lee Higginson. Its first conductor was George Henschel, who was a noted baritone as well as conductor, and a close friend of Johannes Brahms. For the orchestra, Henschel devised innovative orchestral seating charts and sent them to Brahms, who replied approvingly and commented on the issues raised by horn and viola sections in a letter of mid-November 1881.[2]
The BSO at Boston Music Hall in 1891.
The orchestra's four subsequent music directors were all trained in Austria, including the seminal and highly influential Hungarian-born conductor Arthur Nikisch, in accordance with the tastes of Higginson. Wilhelm Gericke served twice, from 1884 to 1889 and again from 1898 to 1906. According to Joseph Horowitz's review of correspondence, Higginson considered 25 candidates to replace Gericke after receiving notice in 1905. He decided not to offer the position to Gustav Mahler, Fritz Steinbach, and Willem Mengelberg but did not rule out the young Bruno Walter if nobody more senior were to accept. He offered the position to Hans Richter in February 1905, who declined, to Felix Mottl in November, who was previously engaged, and then to previous director Nikisch, who declined; the post was finally offered to Karl Muck, who accepted and began his duties in October 1906. He was conductor until 1908 and again from 1912 to 1918.[3]
The music director 1908–12 was Max Fiedler. He conducted the premiere of Ignacy Jan Paderewski's Symphony in B minor "Polonia" in 1909.
During World War I, Muck (born in Germany but a Swiss citizen since childhood), was arrested, shortly before a performance of the St. Matthew Passion in 1918, and interned in a prison camp without trial or charge until the end of the war, when he was deported. He vowed never to return, and conducted thereafter only in Europe. The BSO's next two titled conductors were French: Henri Rabaud, who took over from Muck for a season, and then Pierre Monteux from 1919 to 1924. Monteux, because of a musician's strike, was able to replace 30 players, thus changing the orchestra's sound; the orchestra developed a reputation for a "French" sound which persists to some degree to this day.[4]
Koussevitzky and Munch
Symphony Hall, Boston, the main base of the orchestra since 1900
The orchestra's reputation increased during the music directorship of Serge Koussevitzky. One million radio listeners tuned in when Koussevitzky and the orchestra were the first to perform a live concert for radio broadcast, which they did on NBC in 1926.[5]
Under Koussevitzky, the orchestra gave regular radio broadcasts and established its summer home at Tanglewood, where Koussevitzky founded the Berkshire Music Center, which is now the Tanglewood Music Center. Those network radio broadcasts ran from 1926 through 1951, and again from 1954 through 1956. The orchestra continues to make regular live radio broadcasts to the present day. The Boston Symphony has been closely involved with Boston's WGBH Radio as an outlet for its concerts.
Koussevitzky also commissioned many new pieces from prominent composers, including the Symphony No. 4 of Sergei Prokofiev, George Gershwin's Second Rhapsody and the Symphony of Psalms by Igor Stravinsky. They also gave the premiere of Béla Bartók's Concerto for Orchestra, which had been commissioned by the Koussevitzky Music Foundation at the instigation of Fritz Reiner and Joseph Szigeti.
Koussevitzky started a tradition of commissions that the orchestra continued, including new works by Heitor Villa-Lobos (Symphony No. 11) and Henri Dutilleux for its 75th anniversary, Roger Sessions, and Andrzej Panufnik, for the 100th, and lately for the 125th works by Leon Kirchner, Elliott Carter, and Peter Lieberson. Other BSO commissions have included John Corigliano's Symphony No. 2 for the 100th anniversary of Symphony Hall. Hans Werner Henze dedicated his Eighth Symphony to the orchestra.
Although Koussevitsky recommended his protégé Leonard Bernstein to be his successor after he retired in 1949,[6] the BSO awarded the position to the Alsatian maestro Charles Munch. Munch had made his Boston conducting debut in 1946. He led orchestra on its first overseas tour, and also produced their first stereo recording in February 1954 for RCA Victor. In 1952, Munch appointed the first woman to hold a principal chair in a major U.S. orchestra, flutist Doriot Anthony Dwyer, who remained as BSO principal for 38 years.[7]
Leinsdorf, Steinberg, and Ozawa
Erich Leinsdorf became music director in 1962 and held the post until 1969. William Steinberg was then music director from 1969 to 1972. Steinberg was "ill and ailing" according to composer/author Jan Swafford, and "for four years he was indisposed much of the time."[8] After Steinberg's retirement, according to BSO trustee John Thorndike (who was on the search committee) the symphony's board spoke to Colin Davis and "investigated very thoroughly" his appointment, but Davis's commitments to his young family did not allow his moving to Boston from England;[9] instead he accepted the post of BSO principal guest conductor, which he held from 1972 to 1984. As the search continued, Leonard Bernstein met with four board members and recommended Michael Tilson Thomas, who had been Assistant Conductor and Associate Conductor under Steinberg, for the directorship, but the young conductor "did not have sufficient support among the BSO players," according to journalist Jeremy Eichler.[9] The committee eventually chose Seiji Ozawa, who became Music Director in 1973 and held the post until 2002, the longest tenure of any Boston Symphony conductor. (Bernard Haitink served as principal guest conductor from 1995 to 2004, and was named conductor emeritus in 2004.)
Ozawa's tenure involved significant dissension and controversy. One concern was his handling of the Tanglewood Music Center. Greg Sandow wrote in the Wall Street Journal in December, 1998 that Ozawa "had taken control of the school with what many people thought was surprising and abrupt brutality. Members of the faculty, themselves world-famous, had angrily resigned."[10] The first departure was in the fall of 1996, when Ozawa fired Richard Ortner, the Festival's administrator.[11] After a tumultuous season, at the end of summer 1997, pianist Gilbert Kalish resigned from the faculty by sending Ozawa what the pianist/conductor Leon Fleisher later described as "a blistering letter of resignation, and he made it public"; Fleisher, who was also a long-term member of the Tanglewood faculty, wrote, "Most of the faculty felt he was speaking for them."[11] Ozawa reduced Fleisher's role at the Center, offering him instead a "ceremonial puppet role," and Fleisher resigned, writing to Ozawa that the proposed role was "somewhat akin to having my legs chopped off at the knees, you then gently taking me by the arm and inviting me for a stroll. I must decline the invitation."[11] (On the other hand, music critic Richard Dyer wrote that "...not every change was for the better...But there can be no question that Tanglewood is a busier, more adventurous, and more exciting place than it was before Ozawa became music director."[12] )
A more basic concern involved perceived shortcomings in Ozawa's musical leadership; as Sandow wrote in the 1998 article, "what mattered far more was how badly the BSO plays."[10] He noted that a group of Boston Symphony musicians had privately published a newsletter, Counterpoint, expressing their concerns; in the summer of 1995[13] concertmaster Malcolm Lowe and principal cellist Jules Eskin wrote that in rehearsal Ozawa gave no "specific leadership in matters of tempo and rhythm," no "expression of care about sound quality," and no "distinctly-conveyed conception of the character of each piece the BSO plays."[10]
The BSO's managing director, Mark Volpe, responded that some board members considered Sandow's article a "hatchet job," and some unnamed BSO "observers" were said in the Boston Globe to believe that Sandow "might be sharpening blades for BSO members with axes to grind".[13] Sandow called the suggestion "nonsense," saying, "I found them [players criticizing Ozawa in his article], they didn't find me".[13] André Previn wrote to the Wall Street Journal defending Ozawa,[14] and Lowe wrote to the Journal that he was "frustrated and upset to see my name attached to the article since your reporter did not contact me and chose to quote a letter published nearly four years ago in an internal orchestra publication."[14] Boston Symphony Board of Trustees president Nicholas T. Zervas described Sandow as expressing an "`insulting, reductive, and racist view of [Ozawa] as a samurai kept in place in order to raise Japanese money"[14] - a point Sandow rebutted in a letter to the Journal, saying "These are things I didn’t say. I’d heard the charge about Japanese money while I was writing my piece, so I asked Mark Volpe, the BSO’s General Manager, what he thought of it. Mark refuted it, and I quoted him approvingly."[14] Critic Lloyd Schwarz defended Sandow in the Boston alternative paper, The Boston Phoenix[15]
Various current music critics describe a decline in the orchestra's playing during Ozawa's tenure. Jan Swafford writes, "Now and then he gave a standout performance, usually in the full-throated late-Romantic and 20th-century literature, but most of the time what came out was glittering surfaces with nothing substantial beneath: no discernable concept, no vision."[8] In a 2013 survey of recordings of The Rite of Spring by Igor Stravinsky, a New Yorker music critic, the composer Russell Platt, writes of "Seiji Ozawa’s downright depressing account, recorded in 1979: the Boston Symphony Orchestra's sonic shine, developed by Ozawa's predecessors Monteux and Charles Munch, is audibly dripping away, its dispirited musicians losing their sense of individual responsibility to the score. It is a record of a professional relationship that went on far too long."[16]
On June 22, 1999, the symphony announced Ozawa's departure as music director, as of 2002, following the sudden announcement of Ozawa's appointment as music director of the Vienna State Opera - a decision the board had heard about only a day earlier, where Volpe said he was "a little surprised at the timing".[17] He gave his last concert with the orchestra in July 2002.[12]
Levine and Nelsons
In 2004, James Levine became the first American-born music director of the BSO. Levine received critical praise for revitalizing the quality and repertoire since the beginning of his tenure, including championing contemporary composers.[18] During Levine's tenure, by February 2009 the BSO had performed 18 world premieres, 12 of them conducted by Levine.[19] To fund the more challenging and expensive of Levine's musical projects with the orchestra, the orchestra established an "Artistic Initiative Fund" of about $40 million. (As of March, 2013, the Boston Symphony also claimed an endowment of $413 million, the largest of any orchestra in the world.)[20] Levine suffered from recurring injuries and health problems during his BSO tenure,[21] which led to his resignation as BSO music director as of September 1, 2011.[22]
In the wake of Levine's resignation, Andris Nelsons made his first guest-conducting appearance with the BSO in March 2011, as an emergency substitute for Levine at Carnegie Hall in Mahler's Symphony No. 9.[23] He subsequently guest-conducted the BSO at Tanglewood in July 2012,[24] and made his first appearance with the BSO at Symphony Hall in January 2013. In May 2013, the BSO named Nelsons as its 15th music director, effective with the 2014-2015 season. His initial contract is for 5 years, with 8–10 weeks of scheduled appearances in the first year of the contract, and 12 weeks in subsequent years. Nelsons held the title of Music Director Designate for the 2013-2014 season.[25] In August 2015, the BSO announced the extension of Nelsons' contract as music director through the 2021-2022 season, with a new contract of 8 years to replace the initial 5-year contract, and which also contains an evergreen clause for automatic renewal.[26]
Unequal-pay lawsuit
On July 2, 2018, the principal flautist of the BSO filed a lawsuit in Suffolk County Superior Court claiming pay discrimination on the basis of gender. Elizabeth Rowe claims she is paid much less than the principal oboist, who is male, since 2004 and is seeking more than $200,000 in unpaid compensation from the orchestra. [27]
The BSO is trying to discredit the principal flautist's claim that she is being discriminated against because of the unequal pay compared to the BSO's male oboe lead by saying in a court filing that the two wind instruments are not comparable.[28]
Related ensembles
The Boston Pops Orchestra, the Boston Symphony Orchestra minus its principal players, was founded in 1885, and plays lighter, more popular classics, and show tunes. Arthur Fiedler was the conductor who did the most to increase the fame of the Boston Pops over his tenure from 1930 to 1979. Film composer John Williams succeeded Fiedler as the conductor of the Pops from 1980 to 1993. Since 1995, the conductor of the Boston Pops has been Keith Lockhart.
The Boston Symphony Chamber Players were launched in 1964. Today they are the only chamber ensemble composed of principal players from an American symphony orchestra. In addition to regular performances in Boston and Tanglewood, they have performed throughout the United States and Europe. They have also recorded for RCA Victor, DG, Philips, and Nonesuch.
Performing with the BSO and Boston Pops for major choral works is the Tanglewood Festival Chorus. Organized in 1970 by its founding director, John Oliver, the Chorus comprises over 300 volunteer singers. Before the creation of the Tanglewood Festival Chorus, and for some time after, the BSO frequently employed the New England Conservatory Chorus conducted by Lorna Cooke DeVaron, Chorus Pro Musica, Harvard Glee Club and Radcliffe Choral Society. In February 2017, the BSO announced the appointment of James Burton as the new conductor of the Tanglewood Festival Chorus and as the newly created BSO Choral Director, both with immediate effect.[29]
Recordings
The Boston Symphony made its first acoustical recordings in 1917 in Camden, New Jersey for the Victor Talking Machine Company conducted by Karl Muck. Among the first discs recorded was the finale to Tchaikovsky's fourth symphony. Under Serge Koussevitzky, the orchestra made its first electrical recordings, also for Victor, in the late 1920s. These electrical recordings included Ravel's Boléro. Recording sessions took place in Symphony Hall. Koussevitszy's final recording with the Boston Symphony was a high fidelity version of Sibelius' Symphony No. 2, recorded in 1950 and released on LP.
In February 1954, RCA Victor began recording the orchestra in stereo, under the direction of Charles Munch. RCA Victor continued to record Munch and the orchestra through 1962, his final year as music director in Boston (see the Charles Munch discography for a complete list of commercial recordings with the BSO under Charles Munch). During Munch's tenure, Pierre Monteux made a series or records with the BSO for RCA Victor (see Pierre Monteux for a complete list of commercial recordings with the BSO).
Erich Leinsdorf, who had already made numerous recordings for RCA Victor, continued his association with the company during his seven years in Boston. These included a critically acclaimed performance of Brahms' German Requiem (see Erich Leinsdorf for a complete list).
Then, the orchestra switched to Deutsche Grammophon (DG) under William Steinberg. RCA Victor recorded several LPs with Steinberg and Berlioz's Symphonie Fantastique with Georges Prêtre during the transition to DG (see William Steinberg for a complete list of commercial recordings). Michael Tilson Thomas, who was assistant conductor and associate conductor under Steinberg, also made several recordings for DG; some of these have been reissued on CD.
Due to Steinberg's illness, DG recorded the BSO with Rafael Kubelík in Beethoven's Symphony No. 5 (part of his cycle of Beethoven symphonies with nine different orchestras), Ma Vlast by Bedřich Smetana and in Béla Bartók's Concerto for Orchestra as well as with Eugen Jochum conducting Symphony No. 41 by Wolfgang Amadeus Mozart and Franz Schubert's Symphony No. 8.
As a guest conductor in the 1960s, Ozawa made several recordings with the BSO for RCA Victor. He continued the BSO relationship with DG while making several other releases for New World Records[permanent dead link]. Over the course of Ozawa's tenure, the BSO diversified its relationships, making recordings under Ozawa with CBS, EMI, Philips Records, RCA, and TELARC.
The BSO also recorded for Philips under Colin Davis. Leonard Bernstein made records for both Columbia and DG with the BSO, including selections from his last concert ever as a conductor on 19 August 1990 at Tanglewood. The BSO has also appeared on Decca with Vladimir Ashkenazy, with Charles Dutoit and André Previn for DG, and on Phillips and Sony Classical with Bernard Haitink.
The BSO has also done recording for film scores on occasion. Films such as Schindler's List and Saving Private Ryan (both composed and conducted by John Williams) were recorded by the orchestra at Symphony Hall.
In the James Levine era, the BSO had no standing recording contract with a major label;[30] the Grammy Award-winning recording of Levine conducting the BSO with Lorraine Hunt Lieberson in Peter Lieberson's Neruda Songs, released on Nonesuch Records, was the only major label recording during Levine's tenure. On February 19, 2009, the BSO announced the launch of a new series of recordings on their own label, BSO Classics. Some of the recordings are available only as digital downloads. The initial recordings included live concert performances of William Bolcom's 8th Symphony and Lyric Concerto, the latter with flutist James Galway, Mahler's Sixth Symphony, the Brahms Ein deutsches Requiem, and Ravel's complete Daphnis et Chloé,[31] which won the 2010 Grammy Award for Best Orchestral Performance.[32]
In April 2015, the BSO announced a new recording partnership with Deutsche Grammophon that focuses on the music of Dmitri Shostakovich, with Nelsons as conductor.[33] The first recording in the series, of the Tenth Symphony recorded in concert in April 2015, was released on CD in August 2015, and subsequently won the year's Grammy award for Best Orchestral Performance.
Music directors
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George Henschel (1881–1884)
Wilhelm Gericke (1884–1889)
Arthur Nikisch (1889–1893)
Emil Paur (1893–1898)
Wilhelm Gericke (1898–1906)
Karl Muck (1906–1908)
Max Fiedler (1908–1912)
Karl Muck (1912–1918)
Henri Rabaud (1918–1919)
Pierre Monteux (1919–1924)
Serge Koussevitzky (1924–1949)
Charles Munch (1949–1962)
Erich Leinsdorf (1962–1969)
William Steinberg (1969–1972)
Seiji Ozawa (1973–2002)
James Levine (2004–2011)
Andris Nelsons (2014–present)