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The Music Box

at Sanders Theater

Tuesday evening's concert of the Boston Symphony in Sanders Theater was pretty much of a family affair. Igor Stravinsky conducted, his son Soulima was the piano soloist, and the music was, of course, all Stravinsky. Indeed, the entire atmosphere of the concert was one of a family gathering, intent on making music and not worrying too much about the quality of performance.

The orchestra, although it expressed its admiration for Stravinsky loudly after each composition, betrayed little inspiration in its playing. In addition, there were several sloppy entrances; solo playing especially was inferior to B.S.O. standards. However, some of this may be attributed to the difficulty of the scores, and Stravinsky's earnest but inexpert conducting.

Even a group of musicians skilled and trained as the members of the Boston Symphony cannot play consistently well. Really thrilling performances occur at those rare instances when a carefully trained orchestra, inspired by the conductor and the music, plays "above its head" in performance.

Although Stravinsky wrote his Capriccio for Piano and Orchestra as a vehicle for solo appearances, the role of the piano is secondary. Much of its part is percussive, in keeping with a general trend of contemporary composers, but not with the real idiom of the instrument. Soulima Stravinsky appeared to handle the part in real razzle-dazzle fashion, although his playing was almost inaudible from my seat.

The Concerto in D for String Orchestra struck me as a wonderful illustration of the tricks Stravinsky can play with meagre and uninteresting material. Each movement centers around one simple idea. Only the rhythmic and forceful last movement, however, really interested me.

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The concert concluded with the Divertimento from "Le Baiser de la Fee." Although this was the most melodic of the material played and the easiest to understand, it did not impress me much one way or the other. The writing is clever but essentially empty.

An all-Stravinsky program is an institution to some, but for most listeners it is a little tough to take. It would have been a lot more pleasant, and not as disappointing if one of the very early works such as "Firebird" had been included among the compositions played.

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