Augustin Hadelich (standing), with Marc-André Hamelin, piano, along with the BSO string principals, Feb. 15 at Jordan Hall. Robert Torres photograph
The Boston Symphony Chamber Players packed Jordan Hall this Sunday afternoon. The BSO also sold out Thursday evening’s Symphony Hall performance, with a program that would seem to be non-sexy: a horn concerto premiere (Salonen), and Bruckner 4. Two popular successes in what appears to be a down year for attendance at the BSO.
I don’t follow attendance figures carefully these days, but I was pleased (in a perverse way) to be one of the 75 or so people who couldn’t get into the Chamber Players concert until after the first piece had concluded. The Chamber Players typically have good audiences at Jordan Hall, but not like this. The box office was overwhelmed, an increasingly common situation that all organizations should address.
The chamber program was anchored by Chausson’s Concerto grosso, or whatever he titled it. Two soloists with quartet support: violin (Augustin Hadelich) and piano (Marc-André Hamelin), with string quartet (the BSO principals—Cole, Martinson, Déjardin, Ansell). Listeners have probably experienced soloists like Hadelich, who are sometimes too big a presence in chamber settings, because of sound, or style, or just the excess histrionics that become necessary with centerstage.
Hadelich certainly sat on that edge, but only because his playing demands attention. He’s a magnificent artist, precise, elegant in phrase. His instrument doesn’t overwhelm in volume, but the tone is liquid. Hadelich’s presence commands; attentive listening gets rewarded. Not reviewing, just enjoying.
One last thought about the Salonen concerto, which review is at CVNA and here as well. Salonen’s time as conductor of the LA Phil coincided largely with Chad Smith’s time there as COO. Since Smith came to the BSO as President/CEO in 2023, he’s brought lots of LA flavor with him. Salonen’s presence, which continues this summer when he curates the Festival of Contemporary Music and also conducts a couple Shed programs, is just a part. Composer Gabriela Ortiz’s presence last year is another—she was an LA fixture long before any of her music came to Boston. In a separate note, recent collaborations with Boston’s other flagship performing arts groups—Boston Ballet at Tanglewood, Boston Lyric Opera—have been long overdue. Cheers to all of it.
Prepping for the BMOP monodramas this weekend, Saturday at Jordan Hall, another CVNA assignment.