Performances + Events
A collection of memories, anecdotes, and other tributes from the NEC community to Jordan Hall, the heart and soul of New England Conservatory, in honor of its 120th anniversary.
The best recounters of Jordan Hall’s history are those who have sat in its audience or performed on its iconic stage. We invite you to share a memory from a Jordan Hall performance you saw or were part of, the story of a particular musician or piece that impacted you there, or any other homage to our beloved Jordan Hall.
“Solo performances by faculty at the time Fred Hersch and Steve Lacy…sublime. Also getting to perform with guest artist the great Mulgrew Miller.” —Gordon Lewis, BM Jazz Studies 2003
“Queen of the Night Aria on February 8, 2023.” —Christophe Dupre
“Having Heinz Holliger be the soloist one year with the orchestra. He was incredible! That was late 1970’s – early ‘80’s. Another treasured thought was that my grandmother attended NEC 1910-1913 (voice and organ). Knowing that she performed in Jordan Hall long before I did was very special for me.” —Margaret (Person) Blickenderfer violin performance ‘82
“During the 2000s, I was lucky to enjoy being still frequently on stage with prominent musicians of the then “Third Stream Music Department” and the recently renamed “Contemporary Musical Arts Dept.” I was a vocalist for some 40-some years associated with Ran Blake and his many talented associates. In the 1970’s, Jordan Hall was the Valhalla of music. When George Russell, Peter Row, Joe Maneri. Ran Blake, Mary Lou Williams performed, among many other incomparable musicians, we,musical pygmies, trembled with Gunther’s visions. But at that time, the 3rd Stream Department was in a total slump. At Jordan HalI, I recall a pitiful stage, a couple of long couches around a totally messy stage and lots of performers waiting for their turn under a sadly lit stage. It would get close to midnight before we could get to perform. Totally frustrating. Eventually things turned. The 1980s saw a revival and an eventual renaissance. I was privileged to be invited and teach a semester course on Greek Demotic music ( with a class performance in the Keller room). I remain delighted to lead a class in Greek or European music as often as possible and, to me, Jordan Hall will always be an altar to what I have learned and what I have enjoyed over a life time.” —(Dr) Eleni Odoni, former teacher and soloist
“My earliest memory of classical music performance. My mom and dad had tickets to Andres Segovia, the Spanish classical guitarist, at Jordan Hall. Mom had a terrible cold, and Dad brought me instead. This was approximately 1963; I was maybe 11 or 12. I had listened to many recordings and been to local suburban performances, but this was my first real concert venue in the city Just one man in the spotlight on stage. It was a superb, magical, spell-binding performance. My first experience of real acoustics. I could hear his fingers on the strings. I will never forget it. Jordan Hall and that recital made me a listener, a concert afficionado, a lover of live performance.” —Susanna Butterworth
“Circa 1994 (or ’95?) when Elliott Carter was in residence for a week, a student group performed Carter’s “Concerto for flute, oboe, ‘cello, & harpsichord” and it was the first and only time in my life that a musical performance literally brought me to tears. It was such an astonishingly well-executed and impassioned performance, I could not contain myself…stunningly gorgeous music by an impressive ensemble of NEC students. Unforgettable.” —Bob Ross, MM 1995
“As a composition major in 1973-76, I liked to walk through Jordan Hall when it was empty – there was a special hush in the air from the magical acoustics. I was also lucky enough to play the piano part in Schönberg’s arrangement of Debussy’s Afternoon of a Faun with the Contemporary Ensemble under Gunther Schuller.” —Alexis Alrich, composition student 1973-76
“I had heard about Jordan Hall even before I came to America. While walking near the New England Conservatory (NEC), the mere thought of Rachmaninoff having performed in that Hall sent shivers down my spine. It was a stroke of luck that I was invited to teach at NEC in 1990, and at that time, I couldn’t even fathom that the next 30 years of my life would be intricately connected with Jordan Hall – a dream come true.
Beginning with the celebration of Prokofiev’s 100th anniversary in 1991, with generous support from my colleagues, we initiated an annual tradition of celebrating composers’ anniversaries. I was filled with excitement and profound gratitude to have the opportunity to bring various orchestras, choirs, and soloists from prestigious institutions like the Metropolitan Opera, La Scala, and the Boston Ballet to this legendary stage. It was the first time in Jordan Hall’s history that we celebrated Aram Khachaturian’s 100th year the fragment of his ballet Spartak. I could bring as a special guests the son of Dmitry Shostakovich’ who conducted Shostakovich’s Symphony No. 10 with the NEC College Orchestra. It was a joy to bring to the stage the great-great-granddaughter of Giacomo Puccini from Milan grace our celebration of his work. Additionally, an actor from Sweden performed Shakespeare during our celebration of his 450th anniversary.
One of the most unforgettable moments in Jordan Hall’s history was the celebration of Glinka’s 200th anniversary. We had four different choruses, a substantial orchestra, and even real church bells that enthusiastic individuals brought from the Russian Orthodox Church in Rosendale. Jordan Hall resonated like never before, and the audience was left with goosebumps. I could hardly believe that I had organized all of this and had the privilege of performing alongside my colleagues on this dream stage. I had the honor of finding and bringing Alexander Scriabin’s great-great-grandson to perform with our student orchestra.
Every year, I dedicated significant effort to prepare new celebration programs for composers’ anniversaries, ensuring they met the highest educational and professional standards to maintain Jordan Hall’s prestigious reputation. We collaborated with many NEC college and preparatory school faculty and students, forging bonds and performing brand-new music. It was always heartwarming to see Jordan Hall filled to capacity with an enthusiastic audience representing diverse communities, regardless of the composer’s nationality. I distinctly remember the celebration of Aram Khachaturian, which sold out in just 40 minutes, prompting Armenians to demand an additional concert. Consequently, we hosted two concerts in one evening, both sold out, and even the Armenian ambassador came from Washington to attend. During the Verdi celebration, Italians in the audience proudly waved their flags.
Choruses graced the balcony, the orchestra occupied the stage, and Jordan Hall reverberated with the mesmerizing sound, a testament to Nobuko’s exceptional talent! I was thrilled to have the chance to perform new compositions myself and premiere some remarkable discoveries I had made for Jordan Hall, including pieces from the Paris Conservatory (by Debussy), Rio de Janeiro Museum (by Villa Lobos), Madrid (by Cecilia Rodrigo, daughter of Joaquín Rodrigo, in celebration of his 100th year), and Puccini from the Looka Museum. Our concerts consistently received outstanding reviews in publications like The Boston Globe, The Washington Post, Music Intelligence, and Madrid Radio. I’m deeply honored to have had Cathy Fuller from WGBH and later Ron Della Chiesa as hosts for our celebration concerts. They were delighted to engage with our audience from Jordan Hall’s stage.
My husband was a constant source of support and assistance throughout this incredible journey. His memorial bronze plate can be found in Row L, Seat 2. Jordan Hall brought happiness to all of us and demanded the highest level of professionalism.” —Tatyana Dudochkin, faculty of Preparatory and Continue Education
“I have two very distinct memories of my many years’ association with NEC. I was a 9 year old Suzuki violin student at NEC Prep when Frances Lanier, legendary founder of the Prep School, invited Shinicki Suzuki to do a series of master classes for violin students in the spring of 1966. There were 40 young violinists on the Jordan Hall stage playing the Twinkle Twinkle variations for the master and the memory is indelible. Fast forward to 1975 as I graduated from the Prep School I played Chopin A-flat Polonaise on the superb 9 ft Steinway on the Jordan Hall stage at the year end concert – when the Prep held graduation ceremonies there. I took for granted the matchless experience that performing there represented. Sharing in the great tradition of performing in that hallowed space is a treasure beyond description.” —George Ashur
