“Surprise is the common thread in our BBJ concert this year! Of course, Joseph Haydn’s Symphony no. 94 is known for the explosive fortissimo chord that would have awakened anyone dozing in the audience at its London premiere, eliciting cries of “Bravo!” and “Encore!” But all four movements of the symphony contain surprises. Abrupt fortes and pianos, long pauses, sudden changes of tempo, silent moments where the bottom seems to drop out — all of these create an atmosphere where you never know what’s coming next. When I first conducted this piece, in my first ever concert as a student conductor in college, the tempo itself was a surprise — it was the speed at which my baton was shaking.

Surprises abound as well in Jessie Montgomery’s exuberant work Starburst, from its explosive opening chords to its dramatic ending crescendo. Jessie Montgomery’s music is characterized by vibrant eclecticism and dynamic energy. She seamlessly blends elements of classical music with jazz, folk, and contemporary influences. An active violinist herself, she explores all that the string section can do. If you’re unfamiliar with her music, this short and astonishing piece is a wonderful introduction.

Beethoven’s Triple Concerto may hold the biggest surprises of all. First of all, what kind of concerto features three soloists instead of one? Beethoven’s decision to integrate piano, violin and cello into the same concerto was a total innovation for its time. Secondly, he constantly switches between the majestic, rich texture of a full orchestra and the intimate chamber music performed by the trio, in a way that always keeps us guessing. Thirdly, he surprises us by connecting one movement directly into the next. This is a work — in fact, this is a concert — where you never know what’s coming next.”  – Scott Speck