Ireland, Walton, Vaughan Williams Monday 14 January

[Alison]

Couldn't you have been at Salford tonight , Edgers ? Your neck of the woods ?

[EdgeleyRob]

Couldn't you have been at Salford tonight , Edgers ? Your neck of the woods ?

My concert going days are temporarily on hold Alison.
If only life didn't get in the way.
Work,grandchildren,dog etc etc etc

[salymap]

So far all I've heard is the Ireland. I found the tempo just right for me and enjoyed it but why was it described as a 'comedy' overture ? If it's because of the 'Piccadilly' story, the RVW London symphony is a 'comedy' because of the lavender sellers and Big Ben chimes.

i hope catch up with the remainder of the programme this afternoon.

[Hornspieler]

When I watched John Wilson conducting his own orchestra on the Proms, I was impressed by his stick technique.

Slick changes of tempo, firm direction when needed, good accompaniment to the soloists - and not interfering when all was going well.

So I looked forward to hearing how he would manage with one of the BBC's most reliable and accomplished orchestras:

Well, it was a very good concert to my ears. I confess that I did doze off briefly in the first movement of the symphony, but I'd had a long day and I did wake up for the more lively movements. The ending was, I thought, splendidly played and the enthusiasm of what sounded like a very small audience (weather problems?) reflected their appreciation.

Any regrets? Well, I would have preferred the opener to be Elgar's "Cockaigne" to keep to the London reference and the all British content, but nevertheless, this was first class entertainment, highlighted by Professor Johnson's performance of Walton's sometimes overlooked cello concerto.



HS

BTW In my first post, I referred to a tricky experience for the first horn. Well, I remember what it was now - I had to sightread the part at the performance, because the guy who had done the rehearsal had come off his scooter on his way to the concert.

[mercia]

yes I thought the audience sounded small in number

I wonder how many the Media City hall accommodates

[salymap]

Re#19, HS John Ireland was completely British/English and the overture was all about London.

Otherwise I agree with you. bestio,

[Stephen Whitaker]

Of course John Ireland was completely British/English and though the overture was all about London he was from Bowden a few miles away from the studio.

I did find the whole concert rather turgid especially when compared with the RVW 5th from the BBC NOW and O A Hughes last week.

The concerto seemed to be in danger of grinding to a halt.

[gedsmk]

Enjoyed the VW very much. put me in mind of the BBCSSO prom, which for some reason for me takes the palm for spiritual emotion. any comments about the acoustic of this new place? To my ears everything seemed perfectly placed and a well-rounded sound. I was reminded of the Anvil, Basingstoke.

[Andrew Slater]

yes I thought the audience sounded small in number

I wonder how many the Media City hall accommodates

At a rough guess, I'd say that the BBC Philharmonic Studio holds a maximum audience of about 300. (I haven't counted the seats, but I'll try to remember to do so next time I'm there.)

It wasn't a capacity audience, but it was by no means thin - I'd say about 250.

An excellent concert: well worth the trek to Salford Quays and the delayed tram journey (appropriately) to Piccadilly afterwards, due to frozen points at Media City Junction.

Good playing and well-judged tempi throughout (I usually have at least one or two quibbles in pieces I know well, but none here.) The orchestra was arranged 'conventionally', which is something of a rarity in Manchester at the moment (particularly with the Halle). It paid off in the final bars of the scherzo of the symphony, where the tune passes from first violins to seconds, to violas, then cellos, and basses and timpani on the final note: a rapid left-to-right sweep across the orchestra. The lark was brought down expertly (my interpretation).

I can understand the impression that the audience was thin - you could have heard the proverbial pin drop after each movement of the symphony: the audience's concentration was obvious.

According to the programme notes it seems that John Wilson is a life-long admirer of British music, and across a range of orchestras he is making his way through all the Vaughan Williams symphonies: I look forward to hearing as many performances as possible.

Also according to the notes, Guy Johnston has recorded Moeran's Cello concerto with the Ulster Orchestra, conducted by JoAnn Falletta. (I think it's to be issued by Naxos later this year.)

[salymap]

Thanks a lot for your report on the concert Andrew, it really brings it to life as I shall never be able to visit that venue

[An_Inspector_Calls]

Beautifully played but plodding throughout. BBC Now/Hughes were much better last week, as was last year's Prom.

[bluestateprommer]

Very late to the party here, as is my usual wont; from hearing this concert on iPlayer, I'm sort of with SW and AIC above. John Wilson presided over this concert clearly with great care, almost too much care, if that makes sense. It's almost as if, since he's best known for his more "pops" type work with vintage musicals and Hollywood scores, he was trying to be perhaps overly respectful and "classical" in his conducting. I think he could have let loose a bit more swagger in A London Overture particularly in the "Picadilly" and brisker portions. Fine work from JW and Guy Johnston in the Walton Cello Concerto, so no complaints there, although the concerto itself does really seem a weak 3rd brew after the viola and violin concertos. In RVW 5, the playing was lovely, but again, JW seemed almost too restrained and respectful in his interpretation. Still, it's nice to know that JW has great affection for the RVW 9 and plans to conduct the cycle over a long period, so more power to him there.

On a more general level, and this may seem a bit over the top, but given some other comments about John Wilson in other threads, might he perhaps be suffering from a bit of over-exposure, in the manner of Dudamel? He's obviously become a fixture at The Proms in rapid time, and does other concerts in London and elsewhere, so at the risk of being accused of ignorance, might some here be a bit tired of seeing JW appear again and again? I'm not asking to be mean, just making an inference. He's not done much on this side of the pond that I know of, but then we have our own conductors here who do "pops" like Broadway and Hollywood.

[Hornspieler]

Very late to the party here, as is my usual wont; from hearing this concert on iPlayer, I'm sort of with SW and AIC above. John Wilson presided over this concert clearly with great care, almost too much care, if that makes sense. It's almost as if, since he's best known for his more "pops" type work with vintage musicals and Hollywood scores, he was trying to be perhaps overly respectful and "classical" in his conducting. I think he could have let loose a bit more swagger in A London Overture particularly in the "Picadilly" and brisker portions. Fine work from JW and Guy Johnston in the Walton Cello Concerto, so no complaints there, although the concerto itself does really seem a weak 3rd brew after the viola and violin concertos. In RVW 5, the playing was lovely, but again, JW seemed almost too restrained and respectful in his interpretation. Still, it's nice to know that JW has great affection for the RVW 9 and plans to conduct the cycle over a long period, so more power to him there.

On a more general level, and this may seem a bit over the top, but given some other comments about John Wilson in other threads, might he perhaps be suffering from a bit of over-exposure, in the manner of Dudamel? He's obviously become a fixture at The Proms in rapid time, and does other concerts in London and elsewhere, so at the risk of being accused of ignorance, might some here be a bit tired of seeing JW appear again and again? I'm not asking to be mean, just making an inference. He's not done much on this side of the pond that I know of, but then we have our own conductors here who do "pops" like Broadway and Hollywood.

A very objective and interesting post, largely reflecting the views of this concert already expressed by other message boarders.

Yes, hitting the airwaves with a bang may have a negative effect on his future, but JW has to make a living and if he is seeking to close the gap between "clasical", "light" and "pop" music, then good luck to him. (Just as long as he does not emulate the obnoxious Arthur Fiedler - the most unpleasant conductor that I ever encountered among the many {112 at the last count} that I played for over a career lasting 22 years).

BTW A bit belated, but may I wish you all, over your side of the pond, a very Happy and Peaceful 2013?

Hornspieler

[Nick Armstrong]

the obnoxious Arthur Fiedler - the most unpleasant conductor that I ever encountered

You're keeping me generously supplied with titbits, HS! Thanks!

Any specifics demonstrating Mr Fiedler's unique "character" ?

Call me greedy