This month marks a significant milestone in Boston’s cultural history as Symphony Hall celebrates its 125th anniversary.
The Boston Symphony Orchestra (BSO) and music director Andris Nelsons commemorate this occasion with two themed programs.
The first program, held this weekend, features Debussy’s ‘Nocturnes’ and Mahler’s Symphony No. 4, both of which were composed during the hall’s construction.
Next week, they will present the ‘Missa solemnis,’ the very piece that opened the hall back in 1900.
Reflecting on the rich history of Symphony Hall, it’s clear that its legacy extends beyond those grand opening celebrations.
In the years following its debut, the hall became a haven for classical music lovers, showcasing a repertoire familiar to today’s audiences.
In 1900, the concertgoers eagerly attended performances featuring symphonies by renowned composers such as Beethoven, Schubert, Schumann, and Dvořák.
Interestingly, Dvořák’s ‘New World’ Symphony, having been composed less than a decade before, was included in the lineup of the season’s second subscription concert as well as on an East Coast tour.
Concertos from celebrated composers like Liszt, Mendelssohn, and Tchaikovsky also graced the stage.
Notably, many concerts featured soloists who were often well-known virtuosos of the time, including violinist Maud Powell and pianist Adele aus der Ohe.
However, it wasn’t uncommon for orchestra members themselves to take center stage as soloists.
The programming of the BSO in its early days was richer in operatic repertoire than what is usually observed in contemporary symphony programs, with the final subscription concert of the 1900-1901 season showcasing only Wagner’s works.
What’s most astonishing is that many of the composers featured during that inaugural season remain relevant today.
Designed as an acoustic marvel for orchestral performances, Symphony Hall has never been exclusively an orchestra venue.
Only days after its grand opening, the hall hosted the Handel and Haydn Society’s performance of Mendelssohn’s ‘Elijah.’
This society continues to utilize the hall for its events, showcasing the venue’s versatility.
During its first season, Symphony Hall welcomed a variety of events including lectures, society balls, and appearances by touring ensembles like Eduard Strauss’ orchestra and John Philip Sousa’s renowned band.
A highlight from those early days may have been the first hearing of Sousa’s ‘The Stars and Stripes Forever’ at Symphony Hall, composed in 1896.
One genre that has waned in recent years at Symphony Hall is the organ recital.
Upon opening, the organ, built by George Hutchings & Co., drew considerable attention, with J. Wallace Goodrich performing three solo recitals in the hall’s first six months.
Now, with the Aeolian-Skinner organ, which replaced Hutchings’ instrument in 1949, the organ is typically featured only when BSO performs orchestral pieces that require it.
However, this week, notable United Kingdom-based organist James McVinnie has curated a program that embraces both historic and contemporary pieces for the organ.
His program includes selections from Bach, Wagner, and Franck, along with modern compositions from American composers like Nico Muhly, inti figgis-vizueta, and Meredith Monk.
According to McVinnie, while Bach was already a staple in the organ repertoire in 1900, organs of that era were designed to mimic orchestral sounds, resulting in a very smooth sound.
By the mid-20th century, organ builders returned to principles from Bach’s time, creating instruments with a clearer and edgier sound.
McVinnie believes that a well-constructed organ can accommodate a wide range of musical styles and is excited about showcasing contemporary American classical culture through the instrument.
He notes that this fusion of history and modernity in organ music is seldom explored and hopes to bring that perspective to the audience.
In a local newspaper back in 1900, a writer celebrated Symphony Hall, praising its elegance and acoustics, declaring it “a beautiful new hall of music.”
Conversely, some critics were less enamored, suggesting names like “Nocturne” or “Oratorio Hall” could be just as fitting for what they perceived as an unwieldy moniker for such a dignified structure.
As Symphony Hall reaches this remarkable anniversary, its enduring legacy in the heart of Boston’s musical landscape remains indisputable.
image source from：bostonglobe
