When the Baltimore Symphony Orchestra paused during Rhapsody in Blue, conductor/pianist Wayne Marshall played two solo arrangements which were not altogether pleasing to the entire sold out crowd who came to hear the uninterrupted perennial favorite by George Gershwin (1898-1937).
It was a New York kind of a night at Strathmore, beginning with Music for the Theatre by Aaron Copland (1900-1990), then Rhapsody and after intermission, Three Dance Episodes from On the Town by Leonard Bernstein (1918-1990) and Harlem by Duke Ellington (1899-1974).
Wayne Marshall talks to the audience at the performance of the Baltimore Symphony Orchestra, Strathmore, Feb. 3, 2024/By Patricia Leslie
Before the show at coat check, the fellow gleamed when he repeated what had come in an earlier email from the BSO to ticket holders, that it was a sellout night with all 50 "emergency" seats (which are usually held for special circumstances), sold, and all the choral seats which are above the orchestra, sold, too.
It was a grand night, and the orchestra did not disappoint in the least.
The stage could barely hold all the musicians, and Conductor Marshall played the piano "face out," meaning the grand piano backed up to the orchestra so that all in the audience could see his hands moving up and down the keyboard, which was not hidden from view by the instrument which is the usual case for those seated orchestra left .
The familiar Copland strains rang out, and it's understandable why Music for the Theatre is not as popular as his Appalachian Spring or Fanfare for the Common Man, Billy the Kid or Rodeo, but orchestra lovers cannot hear the familiar all the time or that's all we'd hear! (Which may not be a bad thing.)
It's unfortunate that the writer from the Smithsonian could not include BSO's Gershwin production in the listing of other Rhapsody orchestral performances celebrated throughout the U.S., which he described in today's half page spread in the Wall Street Journal. I guess Baltimore was too close to home.
Wikipedia quotes a 2005 article in the Guardian which found that by using "'estimates of earnings accrued in a composer's lifetime,' George Gershwin was the wealthiest composer of all time."
Et tu, Tay Tay?
patricialesli@gmail.com
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