by: Bob Summers

"I have tried to give musical expression to experiences anyone living today must have when confronted with so many remarkable examples of unexpected types of changes and relationships of character, uncovered in the human sphere by psychologists and novelists. In our situation, in our time, in this place to write music as far as I'm concerned is to get in a situation of great adventure, an adventure that's going to make you think of something that you haven't done, that's something you haven't thought about, that makes you think in a new way." - Elliott Carter, Conversations with Elliot Carter

The second week of November was Elliott Carter week, who reigns today as one of the most important figures in 20th century music. I attended the symposium "Elliott Carter's Orchestral Music" on that Tuesday, and I was more than pleased to see that the audience included James Levine, BSO Music Director, and who else but Mr. Carter himself. At the conclusion of over three hours of discussion the moderator asked the man of honor if he would like to say a few words. Mr. Carter responded "yes two words, thank you..." Quite remarkably, at the age of 95 and a lifetime of monumental achievements under his belt, Mr. Carter is needless to say a humble man.

Phil Lesh, the well-renowned Grateful Dead bassist, is both an admirer and enthusiastic supporter of Carter. In fact, Lesh conducted the Berkeley Symphony Orchestra in a performance of Carter's "A Celebration (of 100 X 150 Notes)." An excerpt from the Grateful Dead Almanac describes how "Phil turned his band mates onto works by the likes of Charles Ives and Elliott Carter and helped nudge the Dead into areas of experimentation and adventure which characterized the band's work throughout its history." Innovative and cutting edge works in classical music and "Dead" music are intertwined. If you like the "Grateful Dead" you should most definitely discover the works of Elliott Carter.

During "Carter Week" the BSO under Music Director James Levine performed "Micomicon" (2002) and "Symphonia: Sum flexae pretium spei" (1993-1995), the latter of which will certainly prove to be a late twentieth century masterpiece. According to the program, the three-minute Micomicon "was conceived as a prologue to Symphonia and dedicated to James Levine, who led the BSO in the first performances in January, 2004." The "Symphonia" performance was spectacular with amazing dynamic contrasts, intensity, virtuoso playing from the orchestra and total commitment from Levine.

To conclude the concert a magnificent performance came from another cutting edge work - Beethoven's Third Symphony, the "Eroica." This certainly was able to showcase the great genius that is James Levine, who is an undoubted wonder at programming. The "Adagio tenebroso" from Symphonia and the famous "Marcia funebre Adagio assai" from Beethoven 3 make a connection that you might never expect. Levine's concerts are not just performances of individual pieces but constitute an organic whole, creating new perspectives and insights for the audience.

For over the last couple of decades I have attended BSO concerts regularly, and even after just a handful of these evenings, my sense is that Levine has brought the orchestra to a much higher level. Above all, the most significant change is the level of engagement by each member of the orchestra; no longer do you see players who used to appear as though they would much rather be somewhere else. All seem to be working very hard, deeply engaged and not working against the conductor as some players did in the past. Mr. Levine's conducting technique is less demonstrative that Ozawa, yet I am hearing much more music, and sudden dynamic changes appear to come out of nowhere. All of this makes Symphony Hall an exciting place to be.

It is important that we get to know the works of contemporary composers who share our own experiences and the culture of the present. Overall, Carter has the undeserved reputation as too hard to understand, difficult, academic, and that he writes music only for his intellectual colleagues. Yes, you will not "get" his works at first hearing; you have to expend a little mental energy to fully appreciate his genius and the joy of his music. Yet Carter's work is always interesting and every note has meaning and purpose - in other words, he is our greatest living composer. I am genuinely looking forward to more contemporary programming such as this at the BSO.