Molter Europa Symphony

György Solti has come in for his share of hard knocks as a Mahler interpreter, and no one will pretend that he has the same sort of intuitive empathy for this music that Leonard Bernstein has. But he does have the Chicago Symphony Orchestra–no mean advantage–and many of these performances have come up sounding rather well. London also has been smart to include his first (and better) performance of the Fifth, and he generally does quite well by Symphonies Nos. 2, 6, 7, 8, and 9 as well.

The great Bohemian-born composer Gustav Mahler once said, "A symphony must be like the world. It must embrace everything." Over the course of its nearly 300-year life, the symphony has indeed embraced almost every trend to be found in Western concert music. In this series of 24 45-minute lectures, Professor Robert Greenberg guides the listener on a survey of the symphony. You'll listen to selections from the greatest symphonies by many of the greatest composers of the past 300 years. You'll also hear selections from some overlooked works that, undeservedly, have been forgotten by contemporary audiences.

In Stuttgart, 1983-1989, Neville Marriner followed Sergiu Celibidache, offering quite the contrast to that willfully prodigious Romanian broodingly charismatic style with his own easygoing, less spectacular but genial manner of music making. His sound wasn't as dense and carefully crafted, but the ensemble's playing became lighter and more flexible, agile rather than probing. It is in his Stuttgart period that Marriner increasingly focused on repertoire that went beyond the baroque and classical periods.

Composed in 1803, while Beethoven was also writing the ‘Eroica’ Symphony, Christ on the Mount of Olives (Christus am Ölberge) is the composer’s only oratorio and combines the emotive force of his later Missa Solemnis with the theatre of a Bach Passion. With orchestra, chorus and soloists, it tells the story of Jesus’ prayer and arrest in the Garden of Gethsemane and also reflects the emotional pressure Beethoven was under at the time.

Thomas Adès’ piano concerto from 2018 simultaneously pushes boundaries and embraces tradition. Gutsily performed by Kirill Gerstein and the Boston Symphony (with terrific recorded sound), its opening combines a rich Romantic texture with the mischievous exuberance of Bartók and Prokofiev, piano glissandos and huge block chords rising heroically above Adès’ intricate scoring. Modern big-band jazz infuses the gentler second movement before the finale propels toward an explosive finish with fizzing orchestrations and a frenzy of piano octaves. Equally dazzling is the 2013 Totentanz for baritone, mezzo-soprano, and orchestra, depicting Death’s dances with every stratum of society, from Pope to infant. Endlessly inventive, dark but often witty too, the collection features echoes of grand Mahlerian sweep and the eccentricity of Orff’s Carmina Burana.