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McBurney

Gerard McBurney (Dan Rest photo)

On November 13, 2005—under the leadership of Martha Gilmer, vice president of artistic administration, and composer and writer Gerard McBurney—the Chicago Symphony Orchestra launched Beyond the Score with an in-depth analysis followed by a complete performance of Strauss’s Ein Heldenleben. Daniel Harding conducted.

“The introduction deftly mixed vintage photos projected onto a huge overhead screen, excerpts from Strauss’s letters, commentary from his contemporaries, and short excerpts from the tone poem itself,” wrote Wynne Delacoma in the Chicago Sun-Times. “The pacing was seamless, the information on Strauss and his era coming in easily digestible but never watered-down nuggets. When the CSO played the entire work straight through after intermission, the large audience couldn’t help but feel like newly minted connoisseurs. Enjoying subtleties well below the surface beauties of Strauss’s tone poem, they were attentive, at times rapt. McBurney and his colleagues at the CSO succeeded brilliantly with the most difficult aspect of these kinds of programs: keeping the focus on the music.”

In May 2006, McBurney officially joined the staff of the CSOA as artistic programming advisor. Since then, the Beyond the Score concept evolved into freer and more vivid presentations and collaborations with a wide variety of art collections, scholars, libraries, folk musicians, and actors from all over the world.

A Pierre Dream

A Pierre Dream, November 14, 2014 (Todd Rosenberg photo)

Highlights of the series have included thorough analyses of Elgar’s Enigma Variations, Holst’s The Planets, and Shostakovich’s Fourth Symphony. Rachmaninov’s Isle of the Dead and Wagner’s Tristan and Isolde were presented as seamless dramatizations, and Pierre Boulez led Bartók’s The Miraculous Mandarin and closely advised on Schoenberg’s Pierrot lunaire. Concertmaster Robert Chen was featured in Rimsky-Korsakov’s Sheherazade; and Gwendolyn Brown, an alumna of Lyric Opera of Chicago’s Ryan Opera Center, performed Negro spirituals as part of Dvořák’s New World Symphony. In 2014, McBurney—collaborating with architect Frank Gehry—presented a special and comprehensive examination of music by Pierre Boulez.

This article also appears here.

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Theodore Thomas

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After the Europe Tour 2020, Riccardo Muti joined the Orchestra again for a three-week CSO residency in February that included the Florida Tour 2020 and two programs at Symphony Center. In celebration of the Music Director’s time with the Orchestra during the past two months, please enjoy this video featuring Maestro Muti leading the Chicago Symphony Orchestra and Chorus in an excerpt from Mascagni’s Cavalleria rusticana, featuring mezzo-soprano Anita Rachvelishvili as Santuzza. 🎥@toddrphoto
Opening with the most famous four notes in all of classical music, Beethoven’s Fifth Symphony is featured on this CSO program led by Riccardo Muti, along with the composer’s Second Symphony and the world premiere of Ophelia’s Tears, Concertante Elegy, a new work by Nicolas Bacri featuring the CSO’s own bass clarinet J. Lawrie Bloom as soloist. #Beethoven250 📸@toddrphoto
“In four years, I had been in five orchestras,” said CSO Bass Clarinet J. Lawrie Bloom about the beginning of his orchestral career. As a clarinetist, he never set out to play the bass clarinet, but there just happened to be orchestral positions for the instrument when he began seeking a job. “That is how fast the auditions were happening. But by then, I had really started to realize that the bass gave me a voice I’d never had.” J. Lawrie Bloom takes center stage this week in Orchestra Hall for the world premiere of Nicolas Bacri’s Ophelia’s Tears, Concertante Elegy for Bass Clarinet and Orchestra, led by Riccardo Muti. #MusicianMonday 📸@toddrphoto

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The opinions expressed here are mine and do not necessarily reflect those of my employer.

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