Hallé at the Bridgewater Hall 21 September

[Hornspieler]

I've just cottoned on to this concert.

A well played Prokofiev Cinderells Suite, very derivative of his Romeo and Juliet Ballet music.

Now listening to the Sibelius violin concerto Nikolaj Znaidner.

A very thin and scratchy tone. Ida Haendel he aint. Pity, because his phrasing is very sensitive and musical.

HS

(Will report on the 2nd part later)

[Roslynmuse]

Interesting reaction to the broadcast, HS; I was there last night, and what came over in the hall was just how rich Znaider's tone is, and varied too; those echo phrases in the 2nd mt were really beautifully judged (for example) and for once every note in the final section of the 1st mt and much of the last mt was clear as well as musically shaped. Sadly, the microphones seem not to have caught that; I've just been listening to the Cinderella excerpts and the richness of orchestral tone apparent in the hall is not captured in the broadcast either; I get a very bass-heavy, muddy texture which was not the reality in my mid/rear-stalls seat. I counted more than 20 microphones, btw!

Lintu is a rather ungainly windmill of a conductor and ensemble was precarious at times (although mostly not in the Prokofiev). Interested to read your response to 'Pictures' in due course.

[AjAjAjH]

I was at the same concert on Wednesday last week. This was probably the best performance of the Sibelius that I have heard in years. The final movement's harmonics section had the hairs on my neck standing. A satisfying programme and a good start to the Halle season. Bring on the DSCH concertos, I can't wait.

[Hornspieler]

Interesting reaction to the broadcast, HS; I was there last night, and what came over in the hall was just how rich Znaider's tone is, and varied too; those echo phrases in the 2nd mt were really beautifully judged (for example) and for once every note in the final section of the 1st mt and much of the last mt was clear as well as musically shaped. Sadly, the microphones seem not to have caught that; I've just been listening to the Cinderella excerpts and the richness of orchestral tone apparent in the hall is not captured in the broadcast either; I get a very bass-heavy, muddy texture which was not the reality in my mid/rear-stalls seat. I counted more than 20 microphones, btw!

Lintu is a rather ungainly windmill of a conductor and ensemble was precarious at times (although mostly not in the Prokofiev). Interested to read your response to 'Pictures' in due course.

Yes, sadly the microphones didn't catch the opening few bars of the concerto either. Znaider is a very fine violinist (that Piano trio inserted in the middle of the concert broadcast showed that and therefore probably added to my disappointment)

I did feel however that the tricky jump across the strings from highest to lowest (it occurs twice in the finale) which Ida Haendel handled () so dexterously did not come off for the soloist on the night and I also thought the finale was rushed - almost out of control in places.

I have bad memories of 'Pictures' from many previous performances (including under Silvestri) and it is not my favourite work of Mussorsky, so I look forward to hearing it later today and seeing how the Hallé perform it under their unfamiliar guest conductor..

HS

BTW This concert crept up on me, with no previous mention of it on these boards. As it was on a Sunday, I wonder how many people failed to notice it?

Why not try it now with iPlayer and see what you all think?

[kuligin]

. Sadly, the microphones seem not to have caught that; I've just been listening to the Cinderella excerpts and the richness of orchestral tone apparent in the hall is not captured in the broadcast either; I get a very bass-heavy, muddy texture which was not the reality in my mid/rear-stalls seat. I counted more than 20 microphones, btw!

.

I have noticed this on more than one occassion, there is a sea of microphones at least 20,in number but what one hears on the radio bears little resemblance to the balance which one hears in the stalls.

The sound in different parts of the hall changes quite substantially but my reference is the stalls because that is where I sit!

Missed this concert but looking forward to the complete Daphnis coming up next month

[Hornspieler]

Interesting reaction to the broadcast, HS; I was there last night, and what came over in the hall was just how rich Znaider's tone is, and varied too; those echo phrases in the 2nd mt were really beautifully judged (for example) and for once every note in the final section of the 1st mt and much of the last mt was clear as well as musically shaped. Sadly, the microphones seem not to have caught that; I've just been listening to the Cinderella excerpts and the richness of orchestral tone apparent in the hall is not captured in the broadcast either; I get a very bass-heavy, muddy texture which was not the reality in my mid/rear-stalls seat. I counted more than 20 microphones, btw!

Lintu is a rather ungainly windmill of a conductor and ensemble was precarious at times (although mostly not in the Prokofiev). Interested to read your response to 'Pictures' in due course.

"Pictures from an Exhibition"

A very tidy performance. Great Tuba playing (Bydlo) and trumpet first class throughout.

Perhaps a little cautious in places. But this Ravel arrangement would surely be unfamiliar to most orchestras.

The balance was fine.

HS

[Eine Alpensinfonie]

I have noticed this on more than one occassion, there is a sea of microphones at least 20,in number but what one hears on the radio bears little resemblance to the balance which one hears in the stalls.

That's because we generally have two ears, not 20. The broadcasters should take note of the magnificent Decca recordings that used a "tree" of only three microphones, albeit with a few more for minor tweaking.

[Hornspieler]

That's because we generally have two ears, not 20. The broadcasters should take note of the magnificent Decca recordings that used a "tree" of only three microphones, albeit with a few more for minor tweaking.

As I wrote in a previous post:

One stereo pair and one space pair behind and higher to catch the atmosphere and ambience.

It worked for the BBC when I worked for them and it would work now. The less mics the audio engineer has to operate, the less chance there is of not opening the ones that are essential.

HS

[Eine Alpensinfonie]

As I wrote in a previous post:

One stereo pair and one space pair behind and higher to catch the atmosphere and ambience.

It worked for the BBC when I worked for them and it would work now. The less mics the audio engineer has to operate, the less chance there is of not opening the ones that are essential.

HS

Sorry HS, I missed that one.