Last spring, the London Philharmonic Orchestra (LPO) announced the creation of a Writer in Residence position, with the inaugural appointment of Jeremy Eichler, the author of Time’s Echo and former music critic of the Boston Globe. Eichler’s role will include contributing an essay on the season theme, “Moments Remembered,” in addition to writing program notes and giving pre-concert talks throughout the year.
By placing explicit emphasis on written and verbal commentary as a way to enrich the concert-going experience, the orchestra deepens the audience’s understanding of the music. Artistic Director Elena Dubinets emphasized this point when discussing the new position: “…it’s lovely if [audiences] are able to enjoy music without additional explanation – and there’s nothing wrong with that. But some people want to know more. And for them, Jeremy will be a fabulous person to be a guide.’”
Her statement captures the sentiment I advocate here that music, while compelling on its own, can be further illuminated by the words that frame it. Words serve as a gateway to a more meaningful connection with music. It’s heartening to hear an artistic director acknowledge this, and the LPO’s investment in a Writer in Residence testifies to their commitment to enhancing the concert experience in this way.
The LPO season opens next week with works by Barber and Beethoven along with Joyce DiDonato singing Berlioz’s Death of Cleopatra. Jeremy Eichler will give pre-concert talks on November 27 and January 18. On January 22, the orchestra will perform Dead White Man Music (Concerto for Harpsichord and Chamber Ensemble) by Evan Williams, who I spoke with last summer.
Leave a Reply