At last, Boston hires a concertmaster
OrchestrasAfter five years with the biggest vacancy in the orchestral world, the Boston Symphony today presented Nathan Cole as its new concertmaster.
He is presently first associate concertmaster with the Los Angeles Philharmonic, where he has played since 2011. Before that, he was in the Chicago Symphony.
Cole, originally from Lexington, Kentucky, succeeds Malcolm Lowe, who retired in 2019 after 35 years in the seat. Cole becomes only the fourth BSO concertmaster in 104 years. His grandfather played in the Philadelphia Orchestra under Eugene Ormandy. Both of his parents are flute players.
His compatibility with Boston will have been vouched for by the orchestra’s CEO Chad Smith, his former colleague at the LA Phil.
Nathan will take up the position this summer at Tanglewood.
Main photo: Todd Rosenberg
As part of an audition process starting last January, the BSO welcomed a succession of highly accomplished guest concertmasters, including Cole who led the orchestra in both Boston and at Carnegie Hall in performances of Shostakovich’s monumental 1934 opera Lady Macbeth of Mtsensk.
His first full season with the orchestra will include two performances at Carnegie Hall in April 2025 and at the Shostakovich Festival in Leipzig and in three other soon-to-be-announced European cities where the BSO will tour in May 2025.
More info here: https://www.bso.org/press/boston-symphony-orchestra-names-new-concertmaster
I had never even heard of Nathan Cole before attending the BSO performance he led. I said to my husband afterwards, “Whoever this guy is, he’s REALLY GOOD.” We heard many of the guest concertmasters over this extended audition period, and to my ears, Cole stood out musically. His playing had character and was not simply “generic excellence,” and the high musicianship was extremely evident. It’s never a good idea to base one’s opinion on a sample of n=1, but based on that, it seems to me Nathan Cole is an excellent choice for the BSO.
I look forward to hearing him for many years to come in Boston!
I too have heard many auditions, as a matter of fact every Saturday since April! Also, I have seen the Lady Macbeth of Mtsensk at the symphony hall. But all my attention was on the opera singers, and hardly have any recollection of him at the concertmaster seat though. The upcoming Scheherazade will be a big test. I heard great rendition from Alexander Barantschik with the San Francisco Symphony way back. Not so much one from Malcolm Lowe before his retirement. Hopefully this one can nailed as ease. To me all principals needs to be soloist for a concerto appearance once for a while. One or a two in a season. Should that be hard to ask?
Fabulous player, smart musician and nice guy. Wonderful news!
Orchestras seem to prefer concertmasters who ‘fit in’. American orchestras seem to increasingly desire this: generic violin playing, dull and lacking spontaneity. Possessing a musicianship like Joey Silverstein’s, a tone like David Nadien’s, or a presence like Glen Dicterow’s, such qualities have banished.
These days it seems I won’t find a special concertmaster leading in any major America city. Meanwhile in Europe, concertmasters are real artists, even at tier 3 orchestra level.
Does “fitting in” necessarily equal “generic”? I’m not convinced you can’t have a stellar individual voice who still fits in with the group he/she leads.
And are you sufficiently familiar with Mr. Cole’s playing to make the assertions about his playing that you are making?
Or for that matter, are you sufficiently familiar with concertmasters of, say, the top 10 American orchestras to claim what you claim?
Or is this just more America bad, Europe good?
Sadly I have to agree… The only thing that went through my mind when I saw the headline was “wow what an underwhelming appointment”…
Who did you want them to hire, Hilary Hahn?
Have you actually heard him?
You must be intimately knowledgeable about Cole’s playing to have such a strong reaction.
…so…you are underwhelmed because…?
You clearly do not know Nathan or his playing.
What are you basing your comments on?
What a passive-aggressive cheap shot. You should be ashamed of yourself. Nathan is an outstanding violinist and artist. Have you seen him lead an orchestra? Heard him live? Played with him? I have, extensively. Anyone who has knows that no person could be more qualified for this job.
That is not his point though. I’m sure Cole will be a conscientious concertmaster. But how does he compare to Joey Silverstein, David Nadien, or Glenn Dicterow?
His post labeled Nathan as a dull, generic, uninspired violinist. The point was precisely to be insulting, as is your post defending this view.
You want to compare Nathan to dead or retired players? Seems futile, but I’ll play along.
In his prime, Dicterow famously played Waxman on Live from Lincoln Center–you can watch on YT. It’s a riveting performance, playing to all his strengths. Few sitting concertmasters at the time would have dared.
I saw Nathan perform Stravinsky Concerto live at the Hollywood Bowl. This is a piece well outside the standard repertoire, devilishly hard technically and interpretatively, so much so that most soloists don’t touch it. The Bowl, an outdoor venue with 17,500 seats, is a terrifying setting in which to solo. Nathan delivered such a sensitive, riveting performance that the audience sprung to their feet and demanded an encore. Name me another orchestral violinist, current or past, who could pull that off.
Your premise of comparison is flawed, but even if we accept it, Nathan is a highly deserving heir to those that came before him.
The one great thing Mr Cole lacks is….wait for it……talent. His online presence is quite voluminous so there is quite a substantial volume of material to sort through. Flavorless studenty playing best suited for back of the section. He did manage to post a video of Sibelius with piano once and that should have disqualified him from seeking any solo position in itself. This is not even on the same planet as Dicterow
Dicterow stayed way too long in his seat.
Well, look at the concertmaster of the Philadelphia Orchestra.
Well, he’s never been a concertmaster before, so let’s wait until he’s played his first season before we judge him, no?
You’re clearly have no idea how this works IRL. Let’s do some math.
Nathan has been second chair in LA since 2011. They do >250 concerts/year. Even if Nathan only covers 10% of those on average (it is likely higher), that’s at least 25 * 13 = 325 times he’s sat concertmaster. That doesn’t include his numerous guest concertmaster gigs w/ other major orchestras.
In fact, Nathan sat concertmaster for the BSO’s January performance of Lady Macbeth at Carnegie. That’s as high pressure as it gets, with huge solos, and he absolutely nailed it according to Nelsons, his fellow musicians, the audience, and reviewers–so much so that it got him the job!
But I guess “he’s never been a concertmaster before” so who knows?!
I truly, truly wish that one would have to pass a basic reading comprehension quiz before gaining access to the right to comment. We could be spared inane comments like these.
You write: “he’s never been a concertmaster before,”
From the BSO announcement:
“As first associate concertmaster of the Los Angeles Philharmonic since 2011, he was regularly featured as soloist at Walt Disney Concert Hall and the Hollywood Bowl in repertoire spanning the 17th to the 21st centuries. Prior to this position, he was a member of the Saint Paul Chamber Orchestra and the Chicago Symphony. He has appeared as guest concertmaster with the orchestras of Pittsburgh, Minnesota, Houston, Ottawa, Seattle, and Portland, Oregon.”
Do you know how stupid you look now?
He shouldn´t compare to some types who played 50 years ago.Would you have compared Silverstein to the BSO concertmaster of 1920, Benjamin Fradkin?This glorification of the past is simply ridiculous.
Styles have changed, you can´t play Mozart like Tchaikovsky anymore, and half a century of new repertoire has been added. And Baroque.
Cole will compare to himself and not to his distinguished predecessors, great as they all were. let him alone to perform and lead with the splendid musicians of the BSO.
Ya’ll are a nasty (and largely uninformed) lot.
How did a beginning Silverstein, Nadien, or Dicterow compare to an ending one?
My guess is, like Cole, they were exemplary in many respects when first hired, but also grew dramatically as the job called on them to perform in different ways…and when we think of those artists, we think of them fully formed at the height of their powers, and not as the young men they were when they began.
So is there a reason Cole cannot even have one day on the job before his ability is questioned, or worse, he is judged unqualified or wanting in relation to his predecessors?
Nostalgia is a heckuva drug
What’s the point of being so freaking negative all the time. We can’t know how he will compare to those other concertmasters until he’s actually in the job. Just as we couldn’t say beforehand how they would have compared to their predecessors.
My guess is that when Joseph Silverstein became concertmaster of the Boston Symphony there were more than a few sourpusses convinced that he could never live up to the standard of Richard Burgin. Turns out he more than lived up to it.
I know absolutely nothing about Mr. Cole so I will trust the judgement of those that hired him and give him the benefit of the doubt until he gives me reason not to. I’m looking forward to attending concerts in the new season and judging for myself.
Related to Rien de Rien I myself had trouble with BDO in Boston !
David Nadien was only a concertmaster for a very short period: four years or so. He was a fabulous violinist and a bit of a maverick that did a lot of studio work. I imagine he left the NY Philharmonic because he wouldn’t have fitted in so well with a Boulez-run orchestra.
Reportedly David Nadien took a huge cut in annual income to become the Philharmonic’s concertmaster — that is how lucrative being the best of the NY freelancers could be at that time, when advertising jingles, Percy Faith-type easy listening albums, televison sound tracks, and other more or less anonymous session work could keep a player busy just about 24 hours a day if they had the stamina and reportedly Nadien had the stamina. He also had the reputation of being just about the most amazing sight reader ever, which might explain why he was one of the few to make the switch from commercial freelancer to high visibility symphonic concertmaster and concerto soloist seemingly without problem. He could do everything and anything, seemingly and there really isn’t a “David Nadien type” of concertmaster as I cannot think of another concertmaster of a major orchestra who followed the path to get there that Nadien took.
As for Nathan Cole there is an entire category of violin YouTube vid that is not likely to be listened to or even sampled by a non-violinist, and Nathan Cole has populated YouTube with a really impressive group of demonstration videos, ranging from technical demonstrations left hand and right hand to practical “audition trail” tutorials. Having watched several over the years (without realizing he was in the running for the Boston position) I’d say his skills and musicianship are on full display in those videos for those prepared to be informed by them.
Yes! He compares very well to the three you mentioned. In addition to his exceptional violinistic and MUSICAL skills he is a thoughtful, wonderful human being. Nathan Cole
will be a tremendous asset to Boston.
I find the CMs of the two U.S. orchestras I hear regularly rather underwhelming both in how they seem to lead and as soloists. Fine as the orchestras are. When I lived in Prague the Czech Philharmonic had two wonderful CMs – Josef Špaček and Jiří Vodička. The Berlin CMs are also wonderfully expressive leaders and soloists; I loved listening to Daniel Stabrawa on the DCH. One factor is likely that most European orchestras have two or three CMs, so none has to carry too heavy a load.
IIRC there was speculation at one point that the BSO was pursuing Noah Bendix-Balgley; he would have been a great choice but I certainly can understand why he would prefer to stay in Berlin.
What do you mean by “fitting in”?
The lament of the goners,again….Different style today, or better, different styles, not a one size fits all style.You can´t play like 50 years ago…Maybe you won´t find a special concertmaster leading in any major American city…Which doesn´t mean there are any, or indeed many.
Nathan is an incredible musician, a real artist, and a wonderful person who is smart and has a good perspective on life and working with others. He’s a true leader. If Boston took this long to find their concertmaster, rest assured, he’s an artist.
Mr. Feinsteen, you might find this article by Nathan interesting…there is a mention of Joey Silverstein, which begins…” Grandpa told me about one rehearsal shortly after Joseph Silverstein joined the back of the violin section.” The mention is in the section entitled, “You can’t eat prestige”. Here’s the article: https://natesviolin.com/robert-cole-1923-2016-flutist-teacher-grandpa/
Those are sweeping generalizations. Can you give examples?
I guess you never heard Martin Chalifour play. He could easily be a concert violinist i
Martin Chalifour, the Salonen-installed concertmaster, is one of the weakest players in an otherwise stellar orchestra.
2nd attempt I have watched Nathan Cole with the LA Phil since he arrived. He will be an excellent concertmaster.
Nonsense. He’s a wonderful musician. And for the record, one of the concertmasters of Berlin is from Asheville NC by way of the Pittsburgh
Well that’s a great hiring! Huge congrats to both Mr. Cole and BSO! I’m sure that he will be worthy successor to Malcolm Lowe + more than excellent and suitable concertmaster for them! Lucky Boston!
I played quartets with Nathan and his wife Akiko back when they were in the Chicago Symphony. A first rate musician and a first rate human being.
It’s a tremendous move by the BSO and well-deserved recognition of Nathan’s exemplary musicianship and leadership which was on ample display during is tenure with the LA Phil. Wishing him all the best with his new position.
So is this still a “trial” appointment or is he in for good?
Most appointments tend to have probationary periods. I assume this one would, too.
One thing seems certain: He’s clearly a damned good player.
Congratulations maestro!
Will Akiko move to Boston too? I listened to their podcast throughout its run and was so impressed with both of them.
Good to finally see a decent player and musician as concertmaster among the top 5……
Chad Smith is definitely getting the job done in Boston!
Congratulations Nathan! He started his career at the Saint Paul Chamber Orchestra. He is a wonderful person and violinist.
Wonderful choice!
Congratulations and good luck to Nathan! LA will miss his whole family (I assume Akiko is going with him?).
Now, Radzynski to LA? Let me dream. He was already vouched for by Mehta and the current concertmaster is also an ex-Clevelander, so I don’t doubt his compatibility.
Radzynski had a very short tenure in Cleveland. For whatever reason, it wasn’t a fit. Cleveland is now down a concertmaster and a first associate concertmaster as a result of its process. So good for Boston for being more deliberate in its selection process.
Well if he does come to LA he will have Nathan’s old position — First Associate Concertmaster. I doubt he will have trouble getting tenure.
The exodus of L.A. Phil people continues. In L.A., Nathan Cole is always the bridesmaid, never the bride.
I’m sure Kim Noltemy will steal a few players from Dallas to fill the vacancies in L.A.
That’s not how it works…
It doesn’t work that way, and Notelmy will have virtually no say in the hiring of orchestral players.
Very Happy tp have Mr. Cole in our New England area as the BSO Concertmaster! Having enlisted in one of his many programs for violin study, I can truly say that his generous spirit and advice were truly appreciated! Bravo, Nathan!
I’ll join those shaking their heads in disgust at the snotty “cluelessness” of our self-appointed nay-sayers. Mr. Silverstein was elevated from several chairs back in the BSO’s 1st violin section. Malcolm Lowe came to Boston from the front-desk of the “other” Quebec orchestra, the one that is not the Orchestre Symphonique de Montreal. Neither was a sexy hire, but both enjoyed distinguished tenures and are lionized today with near unanimity by the faithful. May that trend continue with Mr. Cole, and why wouldn’t it? I also hope that the open seats in the BSO fiddle section can now be filled wlithout more dithering, that Ms. Akiko is placed in one of them, and the BSO continues in perpetuity as one of the great orchestras of the world.
I have watched Nathan Cole play since he came to the LA Phil. He is a fine muscian but Martin Chalifour who is LA Phil Concertmaster does more local recitals and chamber music performances and he is as good as it gets.
Congratulations to Mr. Cole. I enjoy his videos and advice a lot. For those who expected a flamboyant virtuoso as concertmaster , I must say that playing in and Orchestra is first and foremost a team game, and I can’t think of a better team player than Mr. Cole!
LA Phil seems to be losing musicians left and right.
So BSO went from Joey Silverstein to R2D2. The fact that someone with such little artistic merit and charisma got appointed to this position speaks volumes on the degenerate state of classical music in United Stares. Over the last few decades, he established quite a strong online presence, teaching audition courses, so all you have to do is look at some of his videos and decide if this is the guy who‘s swan lake solo is going to melt your heart
The lament of the armchair violinist goners….
Someone has to point out that the emperor is naked. If anyone needs more evidence of this dull pedantic playing, look up his Kreisler candenza played on Milsteins violin
Are you suggesting his grandfather was the renowned Orlando Cole?