Word: monteux
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...appears to have reached another crossroads in its relatively young history. Its players are certainly capable of vibrant, intense performances: this reviewer heard Bernard Haitnik dispel their complacency only a few years ago in the same Tanglewood Music Shed. Such revelations, however, come far too infrequently. Under Munch, Monteux, and Leinsdorf, such revelations came weekly...
...need for authority is basic. Children need authorities to guide and reassure them. Adults fulfill an essential part of themselves in being authorities; it is one way of expressing care for others." To demonstrate what authority is, Sennett portrays not a politician dominating a crowd but Conductor Pierre Monteux, whose "ease at being in control" was so complete that a raised eyebrow was enough to cue the French horns...
Music is a natural metaphor to Sennett, for he spent his boyhood training to be a professonal cellist. While getting his A.B. at the University of Chicago, he also was accepted as a student of conducting under Monteux. At the age of 21, as he came onstage to begin a cello recital, the nervous tension became too great. "I vomited into my cello," he recalls with a grimace. "I can laugh about it now, but at the time it was . .." Words fail...
...veteran, philanthropist, amateur musician and founder of the Boston Symphony. Under a succession of Germanic conductors the young orchestra survived and flourished, moving into its incomparable home, Symphony Hall, in 1900. The modern, French-Russian character of the B.S.O. dates back to 1918, with Conductors Henri Rabaud, Pierre Monteux and, most important, Serge Koussevitzky. During his 25-year reign-from 1924 to 1949-Koussevitzky. During his 25-year reign-from 1924 to 1949 - Koussevitzky presented 125 world premieres, aggressively supporting American music and taking a whole generation of composers, including such disparate figures as Aaron Copland and Howard Hanson, under...
Given the B.S.O.'s French-Russian schooling-taught principally by Monteux, Koussevitzky and Charles Munch-it is not surprising that its virtues are brilliance and color, enhanced by characteristic American precision. Ozawa, music director since 1973, describes the sound as "very exact, very clean. It uses subtlety rather than power. It is very colorful." The B.S.O. plays great romantic symphonies and the orchestral showpieces of Strauss, Hoist and Respighi very well, especially in the flattering confines of Symphony Hall. Musicians agree that the acoustical warmth of the auditorium contributes to the orchestra's quality. "It gives a rich...