Double Trouble

Saturday, January 22, 2011 | 8:00pm

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

Jordan Hall at New England Conservatory

Mathew Rosenblum

Harold Meltzer

Stephen Paulus

Michael Tippett Concerto for Double String Orchestra (1938-1939)

Mathew Rosenblum Double Concerto (2010)*

Kenneth Coon, baritone saxophone

Lisa Pegher, percussion

Harold Meltzer Full Faith and Credit (2004)

Ronald Haroutunian, bassoon

Adrian Morejon, bassoon

Stephen Paulus Concerto for Two Trumpets and Orchestra (2003)

Terry Everson, trumpet

Eric Berlin, trumpet

*World Premiere

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] A double dose of BMOP

For classical music nerds, the term ‘Double Concerto’ might likely bring to mind Vivaldi’s many works for pairs of violins or other instruments, or for the more romantically-inclined, Brahms’ Double Concerto for violin and cello. But there are many examples in the 20th and 21st centuries as well, for all kinds of instrument combinations. Last Friday night, the Boston Modern Orchestra Project gave a diverse sampling of the genre entitled Double Trouble, featuring four works composed between 1938 and 2010.

Miss Music Nerd Full review

[Concert Review] BMOP tackles double concertos with trouble

The double concerto, pace Brahms, is a creature of the Baroque era, really a special version of the concerto grosso with a concertino of only a couple of players blending with and emerging from the ripieno. The restructuring of large-scale composition around sonata form deprived composers of the natural recurrences of melodic strands that fueled the concerto grosso, making solo concertos a more logical way to achieve timbral contrast within the continual-development process of the more modern forms; yet, some Classical-era composers could not let go.

The Boston Musical Intelligencer Full review

[Concert Review] BMOP has no trouble with multiple double concerti

Virtuosity, in its traditional sense, is musical performance at its most outgoing; the Boston Modern Orchestra Project’s Saturday concert — “Double Trouble,” a quartet of double concerti — revealed a plethora of extroverted strategies. The plurality of styles was a showcase for the flexibility of conductor Gil Rose’s group, switching channels with ease, burnished and rhythmically rigorous in a program marked by wide-ranging gregariousness.

The Boston Globe Full review