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The Boston Symphony, playing Berlioz's "Roman Carnival" Overture for its music director, Seiji Ozawa, at the opening of its Carnegie Hall concert on Wednesday, sounded out of sorts.
Someone who is in the habit of going to see a symphony playing a familiar program may not easily embrace the unknown, Mr. Lockwood has found.
If the Obama presidential campaign had a conductor -- a person who kept the trains running on time and the symphony playing together -- it was Alyssa Mastromonaco.
Pictures a morning Gershwin assembly with an all-world symphony playing music written by an American of Russian-Jewish extraction about Negroes whose ancestors had come her in slave ships, interpreted by Spaak's Revellers.
The young man's name is Sigurd Rashcher, who made his American debut last month with the Boston Symphony, playing the same two pieces (Debussy's Rhapsody for Saxophone and Orchestra, and Jacques Ibert's Concertino for Saxophone and Orchestra. Rascher was born in Berlin of a Swedish father and an English mother.
Unlike, say, the Boston Symphony, which plays largely to a New York-area audience during its summers at Tanglewood, the Chicago Symphony, playing largely to the same audience as during the regular season, is limited in how much it can recycle.
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The Finnish Radio Symphony plays all the music magnificently.
The Boston Symphony plays at its summer home.
Second choice was the Third Symphony played by the Chicago Symphony under James Levine.
The British variant seemed depressingly scaled-down, like a symphony played on spoons.
(The familiar theme of Schubert's "Unfinished" Symphony plays a prominent, ambiguous role).
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com