From the Nashville Symphony
Cinema Serenade with Itzhak Perlman
Violinist Itzhak Perlman stands as a towering figure in the world of classical music, renowned not only for his dedication to his artistry but also for his commitment to educating and being of service to others. Since his auspicious debut as a young prodigy on the Ed Sullivan Show in 1958, Perlman’s virtuosity has graced countless venues, television specials, talk shows, and film scores for nearly seven decades. His list of accolades is nothing short of staggering, encompassing multiple Grammy and Emmy Awards, the prestigious Kennedy Center Honors, the Medal of Liberty (bestowed by President Reagan), the National Medal of Arts (awarded by President Clinton), and the Presidential Medal of Freedom (conferred by President Obama).
Throughout his illustrious career, Perlman has collaborated with virtually every major orchestra of note, including the New York Philharmonic, the Berlin Philharmonic, and the London Symphony Orchestra. On Tuesday, February 18, 2025, he added the Nashville Symphony to this impressive roster. The evening’s performance, titled “Itzhak Perlman: Cinema Serenade with the Nashville Symphony,” began at 7:30 p.m. and treated the audience to a selection of cinematic gems featuring solo violin. The program showcased both film scores that Perlman himself had recorded, as well as pieces from soundtracks he particularly admires.
Giancarlo Guerrero directed the Nashville Symphony as they opened their concert with “Nimrod” from Edward Elgar’s Enigma Variations (1899), honoring recently deceased Schermerhorn donor, James Stephen “Steve” Turner. The concert venue, Laura Turner Hall, bears his mother’s name. The symphony exquisitely performed “Nimrod”; beautiful string chords gently emerged pianississimo through the light G-veil. Guerrero poised, led the orchestra through a carefully mapped course, letting tensions build organically. A minor but noteworthy detail: the horn and trombone sections executed their initial entrances elegantly, creating a moment that took my breath away.
My favorite selection of the night, that did not feature Perlman, was the Symphonic Suite from On the Waterfront, exhibiting prominent themes in Leonard Bernstein’s score to the Elia Kazan’s 1954 film. Kudos to hornist Leslie Norton for her beautiful and languid rendition of the iconic motive, signifying main character Terry Malloy (Marlon Brando). This theme recurs throughout the film and suite, at first resembling a call echoing across the rugged docks and piers of Hoboken, New Jersey. As the film (and suite) progresses, the lone horn’s beckoning clearly symbolizes Terry, deepening the relationship between music and image.
On the Waterfront contrasting themes resemble fully developed symphonic works rather than non-linear musical fragments. The sections called “Scramble” and “Riot in Church” highlighted some of the more angular and dissonant sound collections. NSO musicians delivered fiery, energetic, and dynamically forceful performances in these parts. I want to note the unlisted saxophonist’s wonderfully stylized feature, reinforced by principal William Leathers on trumpet, depicting the corruption and violence among the film’s longshoremen.
The “Waterfront Love Theme” contrasts the previous section, signifying the Terry and Edie Doyle’s (Eva Marie Saint) love relationship. The beautiful theme resembles some of Bernstein’s other work, like “Maria” from West Side Story. However, the music here exhibits more complexity with some of the most gorgeous overlapping textural elements supporting the solo flute’s melodic line, which flutist Leslie Fagan played superbly.
I would be remised not to commend the entire brass section during “The Challenge and Fight,” especially the low brass for their handling of the section’s more angular figures. Tubist Chandler Currier deserves special praise for nearly bringing the rafters down—great job! The “Suite from On the Waterfront” concluded with the “Walk and End Title,” which slowly brought all themes together in counterpoint. Wonderful movie, wonderful piece, and wonderfully played.
The concert’s second half showcased the legendary Itzhak Perlman. I am not a violinist, but the brilliance of Perlman’s playing was evident. Perlman exuded a luxurious quality, his effortless mastery evident as he breathed life into beloved themes from cinematic classics. His repertoire spanned decades of film history, including iconic scores from Casablanca (Curtiz, 1942), Cinema Paradiso (Tornatore, 1988), Far and Away (Howard, 1992), Out of Africa (Pollack, 1985), The Adventure of Robin Hood (Curtiz/Keighley, 1938), Sabrina (Pollack, 1995), Scent of a Woman (Brest, 1992), and the poignant Schindler’s List (Spielberg, 1993).
Perlman’s performance transcended mere technical brilliance: his warm personality and engaging stage presence transformed the concert into an intimate experience. He cleverly interspersed his playing with a trivia game, challenging the audience with questions about each film—“Who was the main star in Casablanca?” This running joke fostered a convivial atmosphere, inviting the audience to participate actively in the evening’s entertainment. His approach effectively bridged the gap between performer and spectator, creating a relaxed and enjoyable environment for all.
As a veteran of film score recordings, Perlman brings unique insights to his performances. He has often spoken about the profound impact of playing film music, noting how the visual context enhances the emotional resonance for both performer and audience. His collaboration with composer John Williams, particularly on Schindler’s List, stands out as an especially moving experience. Perlman’s live rendition of the film’s main theme was nothing short of stunning, offering the audience a rare and privileged moment.
For his encore, Perlman chose the sultry “Tango” from Scent of a Woman, evoking the famous scene where Al Pacino and Gabrielle Anwar dance in a restaurant. This selection perfectly encapsulated the evening’s journey through cinematic history, leaving the audience with a final, unforgettable musical image.
This concert reaffirmed the Nashville Symphony’s invaluable contribution to our city’s cultural landscape. Their ability to attract world-class talent like Perlman while consistently delivering exceptional performances underscores their importance. I strongly encourage everyone to explore the Symphony’s upcoming events at https://www.nashvillesymphony.org. Supporting this institution ensures the continuation of such extraordinary musical experiences in Nashville.
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A Georgia native, Stephen D. Turner moved to Nashville in 2023 with his partner of over thirteen years. When he isn’t hiking in the woods or enjoying the ocean, Stephen is a musicologist and tubist who teaches music at Tennessee State University.
