By Dennis Polkow

Boulez.  The radical and outspoken enfant terrible who once advocated that concert halls and opera houses should be burnt to the ground as dead monuments to an irrelevant past, but who ended up being known as one of the all-time great conductors and interpreters of that past.

Boulez.  The name of the leading twelve-tone composer of his generation, the man who once advocated that serialism would become “the only musical direction of the future,” and yet who later completely abandoned it as a compositional method.

Boulez.  The frustrated artist who vowed that he would never come back to an artistic position in his native France, and yet who returned to Paris to found and lead the world’s premier experimental music research center at the Centre Pompidou for a decade and a half.

Boulez.  The defiant and arrogant lion in Nietzsche’s “Also sprach Zarathustra” who once attacked all established systems, but who is today as diplomatic and subdued as a pussycat and who has come to epitomize the very musical establishment he once so sharply opposed.

On the surface, at least, it would seem that Pierre Boulez is a man of considerable contradiction.  Rather, Boulez is a man of genuine paradox: a living parable and a walking twentieth-century monument.

Our greatest living figure in music, Boulez is widely regarded as one of the twentieth century’s most significant and innovative composers.  But there is also Boulez the conductor, the champion of new music, of technology to expand music materials, the teacher, guru to rock stars, author and lecturer of international renown; in short, a man who helped reshape the course of music after World War II on a myriad of levels. Read the rest of this entry »

By Dennis Polkow

Pierre Boulez is widely represented on recordings and videos both as a composer and as a conductor. Sony Classical has re-released virtually all of his earliest recordings in a special “Pierre Boulez Edition” released for his eighty-fifth birthday, but many of these recordings have long been supplanted. Deutsche Grammaphon is re-releasing many of its Boulez recordings in multi-disc sets this year and the CSO is even releasing an all-new “Boulez Conducts Stravinsky” disc later this month on its own CSO Resound label. The following very select list is a basic introduction to the remarkable art of Pierre Boulez:

Bartók: Piano Concertos Nos. 1 and 3. Daniel Barenboim, soloist, Pierre Boulez and the BBC Symphony. Angel/EMI Classics. Many people thought the Bartók Piano concertos were just noise until this legendary 1970 recording forever made these works part of the standard repertory.

Bartók: Concerto for Orchestra, Four Orchestral Pieces, Op. 12. Chicago Symphony Orchestra, Pierre Boulez. Deutsche Grammaphon. This stellar recording swept the Grammy Awards and is the best of several Boulez/CSO recordings of the Hungarian master’s music. Read the rest of this entry »

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The only Boulez work that Boulez himself will conduct with the Chicago Symphony for his month-long eighty-fifth birthday celebration is his short “Livre pour cordes,” his 1969 orchestration of a string quartet (“Livre pour quatuor”) from 1948-1949, which will open this last Boulez CSO program before the celebration transfers to the University of Michigan and to Carnegie Hall in New York next week (Boulez was there last week as well, leading the Vienna Philharmonic with former CSO music director Daniel Barenboim at the piano).

But the real curiosity of this program is Boulez’ first-ever performances of the Bartók Concerto for Two Pianos and Percussion, an orchestrated version of the Hungarian composer’s Sonata for Two Pianos and Percussion that Bartók made at the suggestion of his music publisher for orchestras to perform and to have the composer and his wife appear as the soloists during Bartók’s last, lean years in exile in the United States. Boulez had never done the piece before, but being such an admirer of the music of Bartók, the piece made his birthday “wish list.” French pianist Pierre-Laurent Aimard and his protégé Tamara Stefanovich will be the soloists and the CSO percussion section will also take the spotlight. Read the rest of this entry »

By Dennis Polkow

The “ought” or “aught” decade, as many are now calling it, has seen gargantuan changes to the landscape of classical music in Chicago.  A decade ago, Chicago still had two classical music radio stations, but the air space for WNIB became too valuable a commodity for the family that owned it to resist selling out; WFMT wasted no time in changing its motto from “Chicago’s fine arts station” to “Chicago’s classical station.”

Compact discs were still the media of choice a decade ago, and despite the fact that few downloading options exist that preserve the dynamic range necessary to faithfully reproduce the subtleties of the genre, more and more classical listeners are now embracing non-software listening options.

Chicago, which used to set the industry standard for classical recordings and Grammy Awards, saw a huge reduction in recording activity overall, the Chicago Symphony Orchestra having lost its recording contract under Daniel Barenboim. Pierre Boulez continued to make recordings here with the orchestra now and then for Deutsche Grammaphon, but the CSO became so fed up with the situation that it began releasing its own recordings on its own CSO Resound label, despite the fact that, by then, it had no music director. Read the rest of this entry »

Photo: Todd Rosenberg

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Bruckner was a favorite composer of the two most recent CSO music directors, Sir Georg Solti and Daniel Barenboim, both of whom recorded complete Bruckner symphony sets with the orchestra. By contrast, music director designate Riccardo Muti has performed few Bruckner symphonies over his long career, although the early Bruckner Second, which he did offer in his fall residency here, is a particular specialty and his performances of the piece were indeed revelatory. Muti has never traversed the later and longer Bruckner symphonies, although these have long been specialties of Bernard Haitink and, as such, this week’s partnership of the CSO and Haitink in Bruckner’s last and unfinished Ninth Symphony should be a particular highlight of the 2009-10 season. Although Muti recently expressed that he wanted to keep Haitink and Boulez as regular guest conductors during his tenure here, it is by no means certain what repertoire will be left to them, so this could be a one-shot repertoire deal for Haitink and the CSO.  Opening the concert will be Haydn’s Sinfonia concertante with CSO co-concertmaster Robert Chen, principal oboist Eugene Izotov, principal bassoonist David McGill and principal cellist John Sharp.  (Dennis Polkow)

8pm November 12, 1:30pm November 13, 8pm November 14, Orchestra Hall at Symphony Center, 220 S. Michigan. $18-$199.

By Dennis Polkow

The history of the Chicago Symphony Orchestra is one that, like Swiss cheese, is full of holes. Founder Theodore Thomas usually gets his due, as does his longtime successor Frederick Stock. From there, however, the history gets hazy and even those with a passing knowledge of it often skip three music directors to Fritz Reiner, who made pioneering stereo recordings with the Orchestra that have yet to be surpassed, and then another skip of a music directorship altogether to Sir Georg Solti, who not only won more Grammy Awards than any other artist (thirty-two), but who was the first to take the CSO around the world and cement its reputation as “sine qua non” as Time magazine so famously labeled it in a cover story on the Solti-Chicago phenomenon. With nearly a year before Italian conductor Riccardo Muti officially becomes the CSO’s tenth music director in its nearly 120-year history, another clear gap is emerging in the CSO story: from Solti to Muti, skipping over the fourteen-year controversial tenure of Daniel Barenboim. Read the rest of this entry »

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When the announcement was made in May of 2008 that Riccardo Muti had been made music director of the Chicago Symphony Orchestra after a four-year search, I was quick to note in a Newcity cover story on the process and a “Chicago Tonight” appearance that the Austro-Germanic repertoire of Wagner, Bruckner, Mahler and Richard Strauss, i.e. the CSO’s bread-and-butter repertoire, was not particularly associated with Muti. “Anyone who knows me knows that I conduct music from the Baroque to modern, only the blind or deaf wouldn’t know this,” countered Muti a month later at his first area press conference. Not helping matters was that his only scheduled concerts for the following season—last year’s memorable performances of Verdi’s Requiem”—played to his best-known strength: Italian vocal music. Quite cleverly, Muti is addressing the repertoire issue head-on a year before his official tenure begins by offering two weeks of programs that are all Austro-Germanic: Mozart and Bruckner this week, and Brahms next. By performing a well-known Mozart symphony (No. 35, the “Haffner”) alongside an obscure early Bruckner symphony (No. 2), we should learn a lot about what to expect in the Muti era. Read the rest of this entry »

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Grant Park Orchestra principal conductor Carlos Kalmar admits that, despite his being born of Austrian parents in Uruguay, the symphonies of Viennese composer Anton Bruckner do not speak to him. Kalmar has enormous affinity with Wagner and Mahler, but not Bruckner, a situation that is not unusual.  Former Ravinia music director James Levine made his mark conducting Mahler symphonies, works that he had known since he was a teenager, but has never touched Bruckner, whose works he once described to me as “incomprehensible.” Read the rest of this entry »

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One thing you could always count on when Daniel Barenboim was music director of the Chicago Symphony Orchestra was that we would consistently hear great Mozart in Chicago, often conducted right from the piano.  Since Barenboim’s departure, however, the CSO has had trouble finding conductors who can bring what is needed to this popular—yet for performers, often illusive—composer.  Legendary pianist Artur Rubinstein, who had been a child prodigy and had a long career into his nineties, did not begin performing Mozart in public until he was into his forties; “Mozart,” he assessed, “is too easy for children, and too difficult for artists.”  Kudos to the CSO for turning to Canadian conductor Bernard Labadie for this week’s program of eighteenth-century music featuring the work of Haydn and Mozart. Read the rest of this entry »

It’s the economy, stupid.

Not only has the music industry had to adapt to the growth of digital technology and file-sharing, now everyone’s broke and on the brink of fighting for food. This century has not been kind to record labels, record stores and record manufacturers, not to mention the promoters and venues who’ve seen some declines in business due to—you guessed it—the elevating economic crisis. Top that off with the threat of a Live Nation/Ticketmaster merger and a citywide Promoter’s Ordinance, and the fear is very much real. No matter how good the intentions are of all parties, there may not be enough room for the little guy for much longer.

Read the rest of this entry »