- One ticket to see the Boston Philharmonic Orchestra: Mozart and Bruckner
- When: Friday, February 28, at 8 p.m. A pre-concert talk will take place at 6:45 p.m.
- Where: Symphony Hall
- Door time: 6:30 p.m.
- Ticket values include all fees.
- $48 for B-level seating (up to $88 value)
- $30 for C-level seating (up to $58 value)
- Click to view the seating chart. B-level seating is located on the sides and center of the first balcony and middle of the orchestra. C-level seating is located on the front sides of the first balcony, the sides and front center of the second balcony, and back center of the orchestra.
Boston Philharmonic Orchestra: Mozart and Bruckner
- Mozart–Piano Concerto No. 25: Renowned Mozartean Robert Levin returns to the Boston Philharmonic for this performance of one of the composer's most grand trumpets-and-drums concertos. According to AllMusic.com, it's suggested that Beethoven chose the piece for one of his first solo appearances in Vienna.
- Bruckner–Symphony No. 7: The Philharmonic believes this lyrical symphony will "make converts out of people who think they don’t like Bruckner." The slow movement proves particularly mournful and resonant; Bruckner composed it to memorialize Wagner, who passed away as the piece was written.
Boston Philharmonic Orchestra
In 1979, conductor Benjamin Zander assembled 96 musicians of all stripes, with students, professionals, and amateur players dedicating themselves to performing music together. That diversity still holds true today. As the Boston Philharmonic Orchestra proudly states on their website, "The professionals maintain the highest standard, the students keep the focus on training and education, and the gifted amateurs...remind everybody that music-making is an expression of enthusiasm and love."
Such enthusiasm has attracted an all-star lineup of renowned soloists; Yo-Yo Ma, Oscar Shumsky, and Russell Sherman have all played with the BPO at various venues throughout Boston and the Northeast. Most concerts are preceded by lectures from Zander—who still serves as Maestro—to help audiences further understand the music. Discussions often cover the works' structures and when to listen for the timpanist's syncopated hiccups.