With a new year looming, it seems as good an excuse as any to take a musical look back and forward. And one of the first things that comes into my view is, inevitably, the area's premier music institution, the Baltimore Symphony Orchestra.
It's mostly a bright picture, to be sure, notable above all for the expressive passion that has been unleashed by music director Yuri Temirkanov since he arrived just about three years ago. (Hard to believe it's been that long already, isn't it?) But there are a couple of matters that could use enhancement -- what the orchestra plays and with whom it plays.
There's no question that Temirkanov's mere presence at the head of the ensemble provides a certain stature; as he continues developing the sound, style and capabilities of the orchestra, that stature will surely grow. Virtuosity by itself -- or a characteristic sound -- can certainly give an orchestra a very valuable identity, a calling card. But moving into the highest orchestral echelon takes more than playing fabulously.
A great orchestra routinely puts its technical skills at the service of a broad variety of musical activity, exploring as much repertoire as possible. Just as routinely, a great orchestra balances the virtues of its music director with the finest guest conductors around, providing a whole new layer of star power (very good for the overall image) and, most important, an extra, richer dimension of artistic quality.
Such things are not easy in the best of times, yet alone tough financial ones. When the bottom line is iffy (the BSO ended its last fiscal year in the red and expects a reprise in the next), offbeat fare is less likely to crop up in concerts and pricey guest artists may be out of reach. But a little creativity in the right places could surely accomplish much on both fronts.
No one would say that we've been getting fifth-rate conductors when Temirkanov is away; still, there are some very worthy artists out there who should be making music with this orchestra for the first time (or returning after a long absence). Yes, the biggest stars would have prohibitive fees and / or consider themselves too grand for Baltimore, but no harm in setting a lofty goal.
As for programming, that should be the least expensive area to tweak, and is, in some ways, the most important to address. So far, the Temirkanov era has not yielded a clear-cut vision in terms of repertoire, beyond the expected tilt toward Russian fare. Too many programs are constructed along the dull, if time-honored, Chinese menu method (short orchestral piece-concerto-big orchestral piece), rather than with a strong sense of what scores go together, play off of each other, and add up to a fully cohesive, meaningful experience.
What's missing
And, although I'd be the last to complain about hearing great performances of the standard rep, I have to raise the nagging issue of contemporary music. We are simply not getting enough of it. Not even close. That has to change. We are also missing wonderful stuff by well-known and lesser-known composers of the past that deserves to be played and could liven up the scene considerably.
I do not expect Temirkanov to give us enormous novelty. He doesn't have to; he can steer as conservative a course as he wishes for his own programs. But this means that visiting conductors must give us a substantial fix of unusual fare each season. Lately, the BSO's podium guests have been sticking pretty much to well-trodden paths (with the occasional, welcome exception); this doesn't make any sense.
There would be little point or success, I hasten to add, in trying to duplicate former music director David Zinman's most adventuresome activities, but that still leaves plenty of room for ear-stretching and experimentation. And a committed administrative staff will figure out how to market any such attempts to skeptical concertgoers.
The "Symphony With a Twist" series is a step in the right direction; this music-and-martini mix has already contained some challenging music and will take a particularly daring avenue in May, when conductor Mario Venzago offers such items as Tan Dun's Concerto for Water Percussion and Orchestra. But out-of-the-box programs need to be part of the mainstream subscription series, too.
And while the BSO won't ever match the National Symphony Orchestra's extraordinary track record for premiering new music, it could take a lesson from that Washington ensemble's effective annual presentation of festivals built around enticing themes -- like last year's "Journey to America" (music by immigrant composers) or next month's "Soundtracks" (an exploration of music in film).
Such festivals, which are incorporated into the NSO's regular subscription series, have established themselves with the public as an appealing means of exposure to different sounds, past and present. The departure from routine allowed by a festival can do wonders to shake up a groggy public. (The forthcoming, citywide Vivat! St. Peters-burg festival provides such an opportunity, but the BSO's programming for it is almost entirely conventional.)
Balancing the repertoire
In the end, it doesn't make too much difference how the proper balance of repertoire is achieved at the BSO, so long as it is achieved. Again, let me reiterate: I'm not advocating the abandonment of Beethoven, Brahms or Tchaikovsky. The grand old favorites belong in any orchestra's life, especially when enlivened by the kind of interpretive fire we can count on from Temirkanov.
But it's possible to serve up underperformed works even by the omni- present composers. Take Beethoven. The BSO has hardly exhausted his overtures or first two symphonies. As for Brahms, how about his lovely Serenades or Tragic Overture for a change?
No orchestra can program everything, of course. Compromises must always be made. But an American orchestra should always have room for a hearty sampling of American music. (A lot of our music, especially from the late-19th century and the 20th century neo-romantics, would be very well suited to Temirkanov, should he care to delve into it.) Latin-American music, too, should not be as rare as it has been here. Same with British and French music. And so on.
Personally, I wouldn't mind if we got an entirely Russian-free year, especially after this season's plethora. I think Temirkanov might even find that a fun challenge. But, assuming there won't ever be a moratorium, you can still uncover plenty of Russian music that isn't overexposed here, even by Tchaikovsky.
Finding things by favorite mainstream composers that aren't being played to death can help to refresh our appreciation of those composers. And on occasions when there just has to be a warhorse on the program, that still should leave room for something completely different -- especially contemporary music, or at least obscure items from the past -- to complement the overly familiar selection.
This is not a radical concept. The BSO used to offer this sort of variety more often, and needs to do so again. The whole point of expanding the repertoire is very simple -- a wide, boundary-less playing field enriches any orchestra, its listeners and the musical art itself.