At a moment of considerable gloom, the BSO essentially made its own silver lining – transforming bad news into good and gladdening the hearts of a few thousand surprised Bostonians. It’s something the BSO is really good at.
It’s hard to say why so many people with an affinity for neither the gospel nor gospel music weep when they listen to Aretha sing the gospel classics, but Mick Jagger could probably explain it, because he was present at the 1972 recording session for “Amazing Grace.”
The BSO’s 10-day series of free pop-up concerts will culminate Sunday, Feb. 16, at 3 p.m. in a performance at Boston’s Symphony Hall under the direction of Thomas Wilkins, BSO Germeshausen Youth and Family Conductor.
Just as the group launched into Mozart’s “Kegelstatt Trio,” the Center’s famous mascot, a 100-foot-tall red oak, began to flutter in the wind, its leaves painted in shades of saffron, peach and tangerine.
The story of the Chevalier de Saint-Georges and his erstwhile roommate Mozart is the subject of Bill Barclay’s latest musical work, ‘The Black Mozart,’ which the Boston Symphony Orchestra commissioned for the inaugural season of the Tanglewood Learning Institute.
Innumerable singers, pianists, cellists, violinists and other musicians stood or milled about (with and without music stands), including two fellows who made their assigned sounds by riding around in a clattering wagon.
The selection of the evening’s works was also fitting to the moment of new meets old, in that just prior to writing them, both Mozart and Mahler had immersed themselves in the music of Johann Sebastian Bach, the better to hone their comprehension and execution of the counterpoint of which he was and remains the supreme master.
Although each speaker offered a unique perspective on their place in and vision for this major new center, two themes ran through everyone’s remarks: the pivotal role of the arts and learning in our society, and the importance of and commitment to the Berkshire community.