Virtuosity's Velocity

Saturday, November 13, 2010 | 8:00pm

Program Notes hosted by The Score Board at 7:00pm

Jordan Hall at New England Conservatory

John Adams

John Adams Son of Chamber Symphony (2007)

Ross Lee Finney Landscapes Remembered (1971)

Arthur Berger Chamber Music for 13 Players (1956)

Scott Wheeler City of Shadows (2007)

John Adams Chamber Symphony (1992)

Gil Rose, conductor

The Score Board is a group of New England-based composers serving as BMOP's vanguard of composer-advocates through volunteerism, direct support and activities, community-building, and curating BMOP's annual Club Concert series.

Program notes (opens in a new window)

News and Press

[Concert Review] Fuse Classical reviews BMOP's "Virtuosity’s Velocity"

The Boston Modern Orchestra Project (BMOP) kicked off its season with a Jordan Hall program on November 13. Entitled “Virtuosity’s Velocity,” the concert was devoted to five American works for chamber orchestra. The music was demanding and difficult, but conductor Gil Rose did indeed elicit plenty of virtuosity from his ensemble.

The Arts Fuse Full review

[Concert Review] All-American electricity

For its seasonal opener “Virtuosity’s Velocity,” on Saturday, November 13 at Jordan Hall, the Boston Modern Orchestra Project chose to present an all-American program in a chamber-orchestra size. (In the old days, there were more players on stage than audience members.) The program included works by John Coolidge Adams, Arthur Berger, Ross Lee Finney, and Scott Wheeler. All these composers except Wheeler flirted with serial techniques, only to abandon them later.

The Boston Musical Intelligencer Full review

[Concert Review] Vigorous BMOP romps through Adams symphonies and more

For its season-opening concert, “Virtuosity’s Velocity,” the Boston Modern Orchestra Project trained its sights on the chamber orchestra — an ensemble whose unique flexibility can incorporate the weight and timbral range of the orchestra and the responsiveness of chamber music. All the music was American, creating a sort of microhistory of the genre’s many iterations.

The Boston Globe Full review