Borusan Istanbul Philharmonic Orchestra (BIPO)’s opening concert for the 2025/26 season felt like the beginning of a new chapter. For years, I had associated BIPO concerts with Zorlu PSM. That was where I had heard the orchestra many times, where the atmosphere of a Borusan evening had become familiar, and where certain listening habits had formed. This season, however, the orchestra moved to the Asım Kocabıyık Anadolu Auditorium at Istanbul Lütfi Kırdar ICEC, and that change gave the night a slightly different energy from the start.
A new hall changes the way you listen. Before the music even begins, you become more aware of the room: the distance between the stage and your seat, the way the audience settles, the silence before the first note, and the acoustic character that only reveals itself once the orchestra starts playing. In that sense, the evening had a double meaning. It was not only the official opening of a new season, but also the first step into a new listening space for the orchestra and its audience.
The program was well suited to a season opener. It offered brightness, humor, lyricism, rhythmic vitality, and a world premiere. The concert began with Kabalevsky’s Colas Breugnon Overture, continued with Shostakovich’s Piano Concerto No. 2 in F major with Ilya Maximov as soloist, followed after intermission with Haydn’s Symphony No. 100, “Military,” and ended with Paolo Marzocchi’s Five Songs of Shkodër, a new work commissioned by BIPO. On paper, it was varied; in the hall, it felt even more so.
Kabalevsky’s overture was an effective opening. It is short, direct, and full of theatrical energy. Carlo Tenan led it with clarity and momentum, and the orchestra sounded focused from the beginning. The piece did exactly what an opener should do: it cleared the air, established confidence, and pulled the audience into the evening immediately.
The first half’s main work was Shostakovich’s Second Piano Concerto. This concerto is often described as one of Shostakovich’s most accessible pieces, but that does not make it simple. Its charm is almost deceptive. On the surface, it has youthful energy, wit, and brightness; underneath, there are moments of tenderness and ambiguity that make it unmistakably Shostakovich.
Ilya Maximov brought a clean, confident sound to the piece. He did not weigh the concerto down with unnecessary seriousness, which suited the music well. The first movement had sparkle and drive, and the dialogue between piano and orchestra felt alive. But the highlight for me was the Andante. Maximov played it with restraint, allowing the melody to breathe without turning it sentimental. The result was warm, direct, and genuinely moving.
The finale returned to the concerto’s playful brilliance. It had the mischievous energy Shostakovich creates so well, where humor and precision seem inseparable. Maximov’s playing was agile and bright, and the orchestra followed him with ease. It was a performance that reminded me why this concerto remains so loved: it is immediately enjoyable, but never shallow.
After the intermission, Haydn’s “Military” Symphony brought a different kind of pleasure. Haydn can sometimes be underestimated because his music does not always announce its greatness with grand gestures. But when performed well, his imagination feels endless. This symphony, especially with its famous military effects, is full of wit and surprise. The second movement, with its percussion colors inspired by the “Turkish” style that fascinated European composers of the period, was particularly enjoyable. The cymbals, triangle, and bass drum added theatrical brightness without overwhelming the music’s elegance.
What I enjoyed most in the Haydn was the balance between polish and playfulness. Tenan did not make the symphony feel heavy. The textures stayed clear, and the music moved naturally. The finale had a lively sense of release, reminding me that Haydn’s humor is not merely decorative; it is built into the structure of the music itself.
The evening ended with Paolo Marzocchi’s Five Songs of Shkodër, the most intriguing part of the program. As a world premiere commissioned by BIPO, it naturally carried a sense of occasion. The work is based on urban songs from Shkodër, a city whose musical culture reflects Albania, the Balkans, the Ottoman world, the Mediterranean, and Europe more broadly. That mixture made the piece especially meaningful to hear in Istanbul.
Marzocchi’s music did not feel like a superficial folk-inspired showpiece. At its best, it seemed genuinely interested in the inner life of the melodies. The orchestration was colorful, and the use of percussion gave the piece a strong rhythmic identity. I was especially drawn to how it moved between familiarity and distance. Some gestures felt close to musical worlds an Istanbul listener might recognize, while the orchestral writing placed them in a broader symphonic frame.
Overall, I left the hall with a positive impression. The orchestra sounded strong, Tenan’s leadership felt assured, and the program offered both accessibility and discovery. The move from Zorlu PSM to Lütfi Kırdar may take some getting used to, especially for listeners with many memories of the previous venue. But this first concert suggested that the change could also be refreshing. A new hall changes the ritual slightly; it makes familiar experiences feel newly alive.
For me, that was the real pleasure of the evening. It was not just a concert, but a reminder of why season openings matter. They create anticipation. They make you feel that a new musical year has begun, with all its unknown evenings still ahead. BIPO’s new season has started with confidence, curiosity, and a welcome sense of renewal.
Burak Dikici 