Martin Pearlman's historic journey with Boston Baroque

Boston Globe

07-03-2025

Over its 53-year history, the group has taken on an ever more ambitious range of pieces, expanding its repertoire from Baroque chamber music to 17th-century operas to 19th-century Classical symphonies. Their performances of Mozart's 'Don Giovanni' and Beethoven's Seventh Symphony were the first in America to be done on period instruments, and they were the first period orchestra to perform at Carnegie Hall. 'In the beginning, especially, we had a lot of 'firsts,' ' Pearlman said when I interviewed him recently. 'But it's not about doing something different. What's important is: Is it a good performance?'
Even though the music is old, Boston Baroque's sound is exhilaratingly lithe and fresh. Tenor Jason Wang, a longtime member of the group's chorus, told me of Pearlman: 'He's always reminding us that it's about being in the moment. We're not reading from a history textbook, we are playing and singing as if this is the first time. It's a reminder that music is a hyper-developed kind of communication between human beings.'
Violinist and concertmaster Christina Day Martinson has worked with Pearlman since she was his student at Boston University; they have also recorded together, including a Grammy-nominated album of composer Heinrich Biber's 'Mystery Sonatas.' She spoke of the trust that she and the other musicians have in Pearlman, because he trusts them. 'There's a nuanced and subtle energy that's coming from the top, and it creates a musical rapport and freedom in us,' she said. 'It's like a school of fish — the whole group swerves but the energy is transmitted so quickly that you can't even see it.'
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This is Pearlman's last Boston Baroque season. The season began with Haydn's 'The Creation,' and then Handel's 'Messiah,' an annual event with the group since 1981. Their annual New Year's concert followed, which Pearlman describes as 'a spotlight on the soloists, with pieces that are fun. Basically a bunch of bon-bons.'
Boston Baroque will continue, with a new conductor (an audition process will take place next year, with a series of guest conductors). But first, Pearlman will conduct his final two concerts: a Classical program later this month, featuring Mozart's 'Haffner' Symphony and Beethoven's Symphony No. 2; and Handel's opera 'Ariodante' (originally scheduled for spring 2020 and canceled due to the pandemic) in May. 'I didn't think about it consciously when I was programming,' Pearlman said, 'but the Mozart was the first score I ever bought, when I was 9 or 10. I remember I used to read it in bed at night. And the violin part in the Beethoven is something I played at Interlochen Music Camp, the summer I was 12.'
Pearlman said he looks forward to focusing on composing, his first and most abiding love. He has also joined the board of North Star Baroque, a new period-instrument orchestra founded by his daughter, Anna, in Portland, Maine.
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Looking at this archive, recalling past performances, I'm even more grateful to have been in Boston Baroque's audience for more than 40 years — enjoying the concerts and witnessing an artistry that has both preserved history and refreshed it.
'I'm not really that comfortable with the spotlight,' Pearlman told me. 'When I'm conducting I have my back to the audience. I'm just getting to do the music, and I love having people listen in.'
Joan Wickersham's latest book is, 'No Ship Sets Out To Be A Shipwreck." Her column appears regularly in the Globe.