A lighter evening

Bank Holiday Monday’s evening Prom was a lighter affair. It seems most of the regular performers were having the day off, as were many of the season ticket holders. Those who turned up were treated to a fun programme played by the BBC Concert Orchestra.

The BBC Concert Orchestra is probably the least prestigious of the BBC orchestras, and I thought this was evident in the sound at the start. The biggest issue was the balance, which was quite brass-heavy, but that may have been due to the strings sitting so far from the front of the stage (in order to accommodate the family orchestra later on). However, the versatile Concert Orchestra came into its own as the programme moved from more classical to lighter works.

I won’t go thought every single one of the short items that was played. Malcolm Arnold’s Cornish Dances are a nice set of pieces, but I would like to see someone try to dance to them!

The work by Graham Fitkin entitled just PK was evidently written especially for performance by the Proms Family Orchestra, which contained not only children but also parents, and by the look of it, a few grandparents too. There appeared to be children of all ages – the principal cellist (from her seating position) was a tiny girl whose cello was hardly bigger than a viola. The work was cleverly constructed so that the professional orchestra, sitting amidst the mass of extra players, was the mainstay of the piece, while the various groups of players played phrases suitable for musicians of a less advanced level. There was also a large choir at the back, and I lost count of how many different conductors there were.

One of the items in the second half was a sing-along of various songs from old movies and shows. This did receive a high degree of audience participation, among those who knew the words, anyway. The final piece, an arrangement of music from 42nd Street kept the audience amused. At one point, the percussionists all “tap danced” with their hands, using white gloves in a synchronised routine on black boards positioned behind. The cellists also spun their instruments at one point.

In all, this was an enjoyable – if different – Prom, which contained some of the fun that the Proms should be about.

• Full details of this Prom (and listen online for 7 days) here

Prom 60
Walton Spitfire Prelude and Fugue
G. Butterworth The Banks of Green Willow
Arnold Four Cornish Dances
Graham Fitkin PK (BBC commission: world premiere)
interval
Bernstein West Side Story – Symphonic Dances
Gershwin Shall We Dance? – Promenade (‘Walking the Dog’)
John Williams Hook – Flight to Neverland
Various You Must Remember This: A Cinematic Sing-Along
Warren, arr. Don Sebesky 42nd Street

BBC Proms Family Orchestra & Chorus (for the Fitkin)
Graham Fitkin conductor (for the Fitkin)
Lincoln Abbotts conductor (for the Fitkin)
BBC Concert Orchestra
Keith Lockhart conductor

Czech night

Sunday’s Prom was an almost all-Czech affair. One of the notable exceptions was Sir John Eliot Gardiner, who conducted the Czech Philharmonic Orchestra, a group of musicians who all seem to have Czech names, and who are almost all men. So whereas the BBC Symphony Orchestra has a Czech principal conductor, the Czech orchestra had a British conductor, for tonight at least.

It was another extra-long concert, but strangely, on this occasion there were two intervals, unlike Prom 45 which was a similar length but only had one break. I found this slightly unnecessary and felt the concert could have been divided into just two parts.

After opening with Dvořák’s Carnival Overture, the orchestra went on to perform Martinů’s sixth symphony, Fantaisies symphoniques. Martinů is quite a recent discovery for me, and I attended half of the cycle of his symphonies over the past year (performed by none other than the BBC SO under Jiří Bělohlávek). It was interesting to hear a Czech orchestra’s take on it tonight. During the cycle, I have to admit I preferred Martinů’s earlier symphonies, which have the same characteristics rhythms and harmonies, but are somehow easier listening. Still, tonight’s performance of his final symphony was dynamic and well worth hearing. For anyone who doesn’t know Martinů, I definitely recommend having a listen, particularly if you like Czech music, as Martinů is Czech music with a 20th century twist.

After the first interval, the concerto was one of the other components of the evening not to be Czech, as it was Grieg’s piano concerto. I wondered why this was, but actually I can’t think of any piano concertos written by Czech composers. Grieg’s concerto is one of the favourites in the repertoire, and  it was given a stunning performance by German pianist Lars Vogt, the third and final non-Czech part of tonight. I’ve never heard Vogt play before, but he’s one to look out for. He gave an intense performance of the Grieg, grimacing and at times looking at both the audience and the orchestra for encouragement after a long passage for the piano. Vogt later showed his more tender side when he played Chopin as an encore.

After the second interval came Janáček’s The Ballad of Blaník, with Blaník being a mythological figure who is also the subject of the final tone poem in Smetana’s Ma Vlast. I wasn’t familiar with this piece at all, but it has interesting orchestration, including a celesta. Then finally, at the end of the concert, came Dvořák’s 8th Symphony. Despite being sometimes known as the English Symphony (in honour of the publishers) this is one of Dvořák’s most Czech symphonies, full of folk melodies. It also happens to be one of my all-time favourite symphonies. There are no boring bits, from the opening cellos and dramatic first movement, the pastoral second movement with its bird calls, the Slavonic Dance-like third movement, and the finale with all its fanfares, and including, I always think, a section inspired by steam trains, as Dvořák was famously a railway enthusiast. It was interesting to be able to compare this Czech performance with one by a British orchestra that I heard earlier this year. No performance of this symphony is likely to disappoint me, but I thought tonight’s was exceptionally good. The rest of the audience clearly agreed, and gave such an applause that we managed to get a second encore out of them: a whole Slavonic Dance.

This Prom was definitely my favourite so far, but then it was always likely to be due to the programme, particularly combining the Grieg and Dvořák symphony. It’ll be interesting to see if any concerts in the remainder of the season can exceed it.

I can’t help but think of the Morcambe and Wise sketch featuring André Previn whenever I hear the opening of the Grieg piano concerto. I thought the BBC would never mention anything so frivolous, until I checked the concert programme online and discovered a full-page still from the sketch! As they point out, Morecambe said he had fished off Sir Henry Wood’s Promenade.

• Full details of this Prom (and listen online for 7 days) here

Prom 58
Dvořák Overture ‘Carnival’
Martinů Fantaisies symphoniques (Symphony No. 6)
interval
Grieg Piano Concerto in A minor
interval
Janáček The Ballad of Blaník
Dvořák Symphony No. 8 in G major
Lars Vogt piano
Czech Philhamonic Orchestra
Sir John Eliot Gardiner conductor

Minnesota Orchestra part 2

The Minnesota Orchestra returned on Saturday for their second Prom. This time the concert opened with the concerto, Berg’s violin concerto. The originally advertised soloist, Lisa Batiashvili, had cancelled due to ill health, so Gil Shaham stepped in after just one night off since his appearance in Prom 54. Some people have been commenting at the large number of changed to the line-up this year, even suggesting that the Proms are jinxed. The Berg concerto is another technically-demanding piece with little in the way of melody. Each of its two long movements had quite promising-sounding openings, but never seemed to go anywhere. Another worthy performance by Gil Shaham, though.

There was only room for one more piece in the concert as it was Beethoven’s 9th symphony. This needs little in the way of introduction. It was interesting to see an American orchestra perform what is considered a quintessential European piece, although they were teamed up with the BBC Singers for the finale that forms the European anthem. The four soloists were positioned in front of the choir so as not to be sitting at the front of the stage doing nothing for the best part of an hour. Following the climax of Beethoven’s work, the Prommers clamoured for an encore, but as Shaham had already given us one in the first half, nothing more was forthcoming.

• Full details of the concert and listen again here

Prom 57
Berg Violin Concerto
interval
Beethoven Symphony No. 9 in D minor, ‘Choral’
Gil Shaham violin
Helena Juntunen soprano
Charlotte Hellekant mezzo-soprano
Eric Cutler tenor
Neal Davies bass
BBC Symphony Chorus
Minnesota Orchestra
Osmo Vänskä conductor

Minnesota Orchestra part 1

The Minnesota Orchestra are playing in two Proms back to back this weekend, with the first concert being on Friday evening. I presume this is because they have flown across the Atlantic especially, so it is more worthwhile if they do two nights in a row.

Following on from his violin concerto yesterday, the opening work was Barber’s Music for a Scene from Shelley. This was simply music Barber was inspired to write by a passage in Shelley’s poem-come-play. However, the work, from early on in Barber’s career, could easily have been at home in a film soundtrack, were a film ever to be made of Shelley’s work.

Next came Shostakovich’s Cello concerto. This is hardly the most optimistic-sounding work – in fact, it makes Elgar’s famous swan song seem like a pleasant walk in the park. Yet it is a good work for showing off the skill of the soloist, having been originally written for Rostropovich. Soloist Alisa Weilerstein put in a good performance, particularly during the long and demanding solo cadenza.

After the interval came the marathon fourth symphony by Bruckner, clocking at over an hour. This was a more romantic, melodic piece to contrast with the Shostakovich. There was an interesting interruption after the third movement when the conductor turned around and invited the audience to talk among themselves while they changed a string. It was the principal cellist who required a new string, and he was given an applause before the orchestra continued with the final movement.

It’ll be interesting to see what the Minnesota Orchestra make of Beethoven’s 9th tomorrow.

Full details of the concert (and listen again for 7 days) here

Prom 56
Barber Music for a Scene from Shelley
Shostakovich Cello Concerto No. 1 in E flat major
interval
Bruckner Symphony No. 4 in E flat major, ‘Romantic’
Alisa Weilerstein cello
Minnesota Orchestra
Osmo Vänskä conductor

Return of the white coats

Thursday’s Prom was performed once again by the BBC Symphony Orchestra under their American principal guest conductor David Robertson. The opening work was a band new work by Mark-Anthony Turnage, commissioned by the BBC and the LA Philharmonic, called Hammered Out. This is a very rhythmical piece, which is written to sound like jazz funk (that’s what the programme notes say it is anyway) but with the dissonances that are more characteristic of Turnage’s work. I was pleasantly surprised when the music started as it wasn’t what I was expecting at all.

This was followed by Barber’s violin concerto, played by Gil Shaham, who had dressed in a white ice cream seller’s jacket to match the orchestra’s characteristic concert attire. This was a good performance, although I did find the solo violin a little soft to hear above the orchestra at times, perhaps due to my position in the arena. The final work was Sibelius’s Symphony No. 2 of which the BBC Symphony Orchestra gave a rousing performance.

Full details (and listen again for 7 days) here

Prom 54
Mark-Anthony Turnage Hammered Out (world premiere)
Barber Violin Concerto
interval
Sibelius Symphony No. 2 in D major
Gil Shaham violin
BBC Symphony Orchestra
David Robertson conductor

Who needs a conductor?

Wednesday’s Prom featured the Norwegian Chamber Orchestra, who performed most of the programme without a conductor. The first piece, Mozart’s Symphony No. 35, was directed by the leader, Isabelle van Keulen. After that, the piano was brought on for a UK première by Norwegian composer Bent Sørensen, a piano concerto entitled La mattina, performed by Leif Ove Andsnes. This was the only piece to utilise a conductor, presumably because no-one was familiar with it. The new work was interesting for its use of wood blocks, played at times by all the string players, and at one point humming by the players, unless I was hearing things.

After the interval, it was an invigorating performance of Grieg’s Holberg Suite, again directed by the leader, and played entirely from memory with the players standing (the cellos and double basses naturally were still seated). This rightfully received a rapturous applause from the audience, as did the final piece, Mozart’s Piano Concerto No. 24. The piano was brought back on, but this time facing the orchestra, and there was no “heave-ho!” as the lid was kept closed. Leif Ove Andsnes returned, this time to direct from the piano. The last time I saw this done was in 2005 when Ashkenazy stepped in to play Mozart’s 20th piano concerto after the billed pianist was indisposed. It’s always an incredibly impressive thing to see.

Given the appalling weather today, the Prom was fairly averagely attended. Those who did brave the weather were certainly rewarded with a splendid performance.

Full details (and listen again for 7 days) here

Prom 53
Mozart Symphony No. 35 in D major, K385 ‘Haffner’
Bent Sørensen La mattina (UK premiere)
interval
Grieg Holberg Suite
Mozart Piano Concerto No. 24 in C minor, K491
Leif Ove Andsnes piano/director
Norwegian Chamber Orchestra
Isabelle van Keulen director/leader
Per Kristian Skalstad conductor (for the Sørensen)

Amazing Ashkenazy

Today’s programme was a little more colourful, with the Sydney Symphony under the baton of the always amazing Vladimir Ashkenazy.

The concerto was Ravel’s piano concerto, played by Hélène Grimaud. I know that Grimaud’s performances at the Royal Festival Hall usually sell ouy fairly quickly, and so unlike yesterday, today’s Prom was quite full. Ravel actually thought up the opening theme of the concerto while on a train journey from Oxford to London, which is interesting as I tavel most of that route every day on my way to the Proms. Unfortunately, I was quite distracted by the loud sound of Grimaud’s breathing, which is apparently a trait of hers while she is playing, probably made worse by the fact I was three rows from the stage. I overheard some fellow Prommers discussing how they actually like this, but I’m afraid I don’t agree, and the irony is I had a fellow passenger with similar loud breathing (no doubt due to a cold) sitting behing me on the train today, until I decided to move seats!

After the interval came tonight’s instalment of Scriabin, with his third symphony. This contained the sort of colourful harmonies and textures that I’m starting to know Scriabin for, although it was nowhere near as crazy as the Poem of Ecstasy from last week.

At the end of the concert, we were treated to an orchestral encore. Ashkenazy actually held up his hands during the applause and spoke to the audience. First he said he thought we must like this nice orchestra, then after more applause, he said they would play an encore, and he thought we might recognise the Composer and title. It turned out to be Elgar’s Salut d’Amour. After the encore, Ashkenazy took only one curtain call before deciding to waste no more time, and insisted the two first violinists leave the stage ahead of him. Thanks to this slightly unconventional exit, I was able to leave the hall in good time, and managed to catch my train.

• Full details and listen online here

Prom 52
R. Strauss, arr. Artur Rodzinski Der Rosenkavalier – suite
Ravel Piano Concerto in G major
interval
Scriabin Symphony No. 3 in C major, ‘The Divine Poem’
Hélène Grimaud piano
Sydney Symphony
Vladimir Ashkenazy conductor

Swedish tribute to Schumann… and Tim Burton

Monday’s Prom was quite sparsely attended. This was probably due to a rather dull programme, and the fact it was Monday, and was a pity, as the Swedish Chamber Orchestra is quite a well put-together little orchestra with a lovely sound, and friendly-looking, smiling players who looked like they found it a pleasure to play at the Proms.

Two symphonies by Schumann to mark his bicentenary and a song cycle by Berlioz were pretty standard fare. The wildcard in this concert was a rather bizarre piece called A Freak in Burbank by Albert Schnelzer, which received its UK premiere. This is intended to be a tribute to film director Tim Burton (who was born in Burbank, California) and also to the music of Haydn. I couldn’t really hear any Haydn in the music, and I couldn’t really see any connection with Tim Burton either. It’s unclear to me whether he was chosen as the subject of the music at random, or whether it was to mark a certain occasion. Does Burton even know of this music, and what does he make of being branded a freak? Perhaps the connection is that the concept behind the music is as bizarre as some of Burton’s films.

I have to say, when it comes to Tim Burton, I’d rather have Danny Elfman’s music. In fact, including a piece by him would have livened up the programme and could have done wonders for the attendance.

• Full details and listen online here

Prom 51
Schumann Symphony in G minor, ‘Zwickau’ (incomplete)
Berlioz Les nuits d’été
interval
Albert Schnelzer A Freak in Burbank (UK premiere)
Schumann Symphony No. 2 in C major
Nina Stemme soprano
Swedish Chamber Orchestra, Örebro
Thomas Dausgaard conductor

From Broadway to Bartók

Sunday saw two very different Proms. The first was a celebration of Rodgers and Hammerstein’s musicals, to mark the 50th anniversary of Hammerstein’s death. I probably wouldn’t have chosen to see this Prom were I not a season ticket holder, in part because I was expecting it to be packed (and it was). However, I’m still glad I had the chance to see it. The concert was performed by an outfit called the John Wilson orchestra, with none other than John Wilson himself conducting. Well, I’d never heard of him, but research reveals they are a light music orchestra that specialises in performing music from the musicals as they did on this night. Wilson was dressed like a stereotypical conductor in an old-fashioned tail suit – something that I have seen no other conductor wear so far in this half-season. The orchestra had an old-fashioned sound too, which was no bad thing: after all, this was music written more than 50 years ago. No premières or BBC commissions in this Prom!

Even someone who is no expert when it comes to Rodgers and Hammerstein, like me, would still be familiar with most of the tunes performed. I have to say, I didn’t know (or think about that) they wrote some of the musicals such as South Pacific, which I’ll confess instead makes me think of Morcambe and Wise, who parodied it on their show. The excerpts from each of the five musicals featured were preeded by the overture from that musical (or at least a similar medley). I didn’t hear any of the Prommers singing along to the tunes. I had thought the Proms might be a draw for those who know every word and like to join in.

Some football fans may have been disappointed that the concert omitted You’ll never walk alone, but there is a simple reason for this. That particular song from Carousel will be performed at the Last Night. And you can bet there will be audience participation on that occasion.

The second Prom of the evening featured two works by Bartók. The third piano concerto seemed rather light for Bartók and was competently played by Richard Goode. In the second half, the BBC Singers joined in for the Cantata profana, a fairly short choral work. The evening concluded with one of Haydn’s “London” symphonies. This Prom wasn’t so well attended as others have been, maybe because it was a Sunday, or perhaps because people had chosen to see the first Prom and not stay on for the second. Still, it was good to have a bit more room to breathe when standing for a second two-hour stint!

• Details and listen again links for both Proms here

Prom 49
Oklahoma excerpts
Carousel excerpts
South Pacific excerpts
The King and I (arr. Edward B. Powell) Overture
Flower Drum Song excerpts
The Sound of Music excerpts

Kim Criswell vocalist
Sierra Boggess vocalist
Anna-Jane Casey soprano
Julian Ovenden baritone
Rod Gilfry baritone
Maida Vale Singers
John Wilson Orchestra
John Wilson conductor

Prom 50
Mozart The Magic Flute – overture
Bartók Piano Concerto No. 3
interval
Bartók Cantata profana
Haydn Symphony No. 102 in B flat major
Richard Goode piano
Nicholas Phan tenor
Ashley Holland baritone
BBC Singers
BBC Symphony Chorus
BBC Symphony Orchestra
David Robertson conductor

Rotterdam Philharmonic Orchestra

Saturday’s Prom wasn’t the most exciting programme from my point of view, as I’m not such a fan of song cycles and so the Mahler was rather lost of me. Wagner’s Tannhäuser overture and Beethoven’s “Eroica” symphony were given perfectly good performances, although nothing really outstanding.

The best part of this concert for me was actually the encore. I must admit to sometimes finding encores uninteresting, particularly as I’m a fan of orchestral music, yet many encores are solos played by whichever instrumentalist was performing the concerto. There’s also the fact that encores can cause me to miss my train… But tonight’s orchestral encore from Ravel’s Mother Goose was a real treat. Quite magical. It’s a pity they couldn’t have programmed some more music like this to show what the Rotterdam Philharmonic and Yannick Nézet-Séguin can really do. (Fans of Mahler’s song cycles may beg to differ!)

• Full details and listen again here

Prom 48
Wagner Tannhäuser – overture
Mahler Rückert-Lieder
interval
Beethoven Symphony No. 3 in E flat major, ‘Eroica’
Simon Keenlyside baritone
Rotterdam Philharmonic Orchestra
Yannick Nézet-Séguin conductor