Yo-Yo Ma and musicians highlight Tanglewood weekend with music created in extraordinary circumstances
In the early evening on Saturday, an eager crowd gathered at Tanglewood, filling the hall dedicated to Seiji Ozawa. Not for a concert, but for a discussion led by renowned musicians Yo-Yo Ma and Emanuel Ax. Joining them was Heather Cox Richardson, a distinguished professor of history and politics at Boston College and the creator of the widely read newsletter “Letters from an American.” The audience, predominantly familiar with Richardson’s work, showed their enthusiasm with raised hands when Ma inquired about her readership. The core of the discussion revolved around the year 1803 and the tumultuous political landscape during which Beethoven composed his groundbreaking Symphony No. 3, “Eroica,” which took center stage in the following day’s performance featuring Ma, Ax, violinist Leonidas Kavakos, and violist Antoine Tamestit.
A notable anecdote linked to the “Eroica” symphony recounts Beethoven’s initial admiration for Napoleon Bonaparte, whom he intended to honor by naming the symphony after him. However, upon learning of Napoleon’s self-coronation as Emperor of France in 1804, Beethoven vehemently renounced this dedication. The composer’s act of scratching out Napoleon’s name from the manuscript, possibly driven by disgust at the thought of Napoleon becoming a tyrant, epitomizes Beethoven’s fervent convictions. Speculation was raised during the discussion that Beethoven may have retained the symphony’s original title “Bonaparte” had Napoleon offered monetary compensation for it, adding a layer of complexity to the composer’s actions.
The conversation revolved around the notion of whether Beethoven’s tumultuous era held lessons applicable to contemporary times, akin to Richardson’s insightful analysis of American history. Though the trio sidestepped direct connections, alluding to the potential relevance of Beethoven’s message to present-day challenges, Yo-Yo Ma humorously hinted at the younger generation’s ability to surpass the wisdom of the older. The essence of the “Eroica” symphony, born amid chaos, echoes in unrelated compositions performed the previous evening by the Boston Symphony Orchestra, led by conductor Elim Chan. The program featured the debut performance of Korngold’s Violin Concerto, a masterful blend of classical and cinematic elements which resonated among the audience. Despite minor tuning issues, soloist Kavakos harmoniously interacted with the orchestra, showcasing his masterful skill and musical synergy.
Following the intermission, the orchestra, under Chan’s direction, delivered an immersive rendition of Rachmaninoff’s Symphony No. 2, showcasing the orchestra’s prowess and intricately weaving together diverse musical influences. The performance captivated the audience, with a thrilling finish that left every listener on the edge of their seats. As the evening concluded, the collective synergy of the ensemble and the powerful music underscored Tanglewood’s legacy of excellence, drawing parallels between Beethoven’s timeless compositions and the contemporary vibrancy of the Boston Symphony Orchestra.