The BSO offers a splendid rendition of Bruckner alongside a convincing American premier of Salonen’s Horn concerto
Esa-Pekka Salonen guest conducts the orchestra with soloist Stefan Dohr
Boccherini/Berio’s Ritirata notturna di Madrid, Salonen’s Horn Concerto, Bruckner’s Symphony No. 4
Boston Symphony Orchestra
Conducted by Esa-Pekka Salonen with Stefan Dohr on solo Horn
Boston Symphony Hall
Feb. 12–14, 2026
From Feb. 12 to Feb. 14, the Boston Symphony Orchestra (BSO) hosted guest conductor Esa-Pekka Salonen and soloist Stefan Dohr, principal horn player of the Berlin Philharmonic. This concert is the second time Salonen has collaborated with the BSO, with the first being in 2012. Since Salonen is a prolific composer himself, his concerts often include his own compositions, a trend which held true for this concert.
The opening work of the program was Berio’s orchestration of “Ritirata” from Musica notturna delle strade di Madrid by Boccherini. Berio’s version is published as Quattro versioni originali della “Ritirata notturna di Madrid.” As can be assumed from the title, the orchestration is a theme and variation of the original orchestration, but with a twist: Berio superimposes the four different versions of Bocherini’s original work. While the four instrumentations are mainly the same, as Berio himself noted, there are slight harmonic clashes between the versions. These nuances are conveyed well, and the Boston Symphony Orchestra appropriately played along with the lightness of the mood.
Salonen’s horn concerto officially premiered last year, with this concert being its American premiere. Reminiscent of the past, the concerto was a product of top-tier craftsmanship, conveying Salonen’s unique bond with the horn. The unifying motif element between the movements was convincingly and aptly placed. While Salonen wrote that some melodies represented fleeting moments, they were all crystal clear in each movement. Part of the opening theme for Mozart’s Piano Concerto No. 12 appeared in the first movement, Bruckner’s horn opening calls were taken up by multiple horns in the second movement, and the horn figures in the Trio of Beethoven’s Symphony No. 3 (Eroica) Scherzo appeared in the third movement.
Another crucial reason for the concerto’s appeal was its unpretentiousness. Salonen seems to have aimed for a concerto that the audience could reasonably follow and appreciate. The second movement, Adagio, had a serene quality that created a calm sense of reflection. Salonen’s writing hit the mark: the entrance of the horn call created an overwhelming sense of blessedness. The third movement balanced tension and activity, with microtonal figures of the strings instruments perfectly establishing a sense of eeriness. This aspect juxtaposed well with the exciting nature of the movement’s introduction, the horn taking center stage at the final moment.
Dohr performed this difficult concerto without any sign of struggle. The fast and high figures at the climax of the concerto were awe-inspiring. He beautifully navigated the whole concerto with thoughtfulness and finesse, blending into and emerging from the orchestra at well-judged moments. The various solo sections doubled with the orchestra could not have been smoother.
The second half of the evening was dedicated to Bruckner’s fourth symphony. As with all of Bruckner’s symphonies, there is an issue of which version to use. The fourth is one of the least controversial, and Salonen picked this conventional choice. The first movement began with a positive note with the clearest and the most precise brass section performance from the BSO this season. Another beautiful aspect of the orchestra’s playing was their clear distinction and emphasis of the Bruckner rhythm. Their dynamic control was also precise, and one could clearly see Salonen’s intentions.
The second movement contains one of the most beautiful melodies that Bruckner ever composed. The sonority-filled theme was played exquisitely by the cellos. Other important sections were carefully managed by Salonen, who kept firm control of the rhythm, allowing the melody to feel processional yet not funereal. The most satisfying moment came with the surreal viola countermelody against the flute melody section, building up to the first climax to convey the architectural buildup Bruckner intended.
The scherzo/trio third movement followed a relatively standard tempo and interpretation. The horn calls were precise, and the gradual increase in volume and grandeur did not go unnoticed. Especially as the Scherzo returns, the orchestra executed a convincing ending of the movement. The Ländler Trio section was well-judged, providing a good contrast and a relaxed atmosphere without lagging.
The Finale is probably the most complex movement of the four. Its mood was set up by the triumphant return of an E-flat major horn call. Salonen then introduced and emphasized each theme from the other movements. While maintaining consistency, Salonen also overcorrected slightly each time the second theme returned. Although the scores called only for a tempo, in these scenarios the orchestra took the tempo a notch faster than at the beginning. This decision did not greatly hinder enjoyment of the music.
Overall, the BSO delivered a special performance. It is not common, even for a top-notch orchestra, to deliver this level of excellence, and it was good to bear witness.