LPO Jurowski Jan 15 2014

[Petrushka]

Rather enjoyed the MacMillan Viola Concerto and looking forward to giving it a second hearing ere long.

Mahler 6 coming up shortly.

Hope to have Caliban's report from the hall in due course.

[Alison]

A hugely enjoyable M6, making as plausible case as I can recall for A/S.

Just the right speed for (I) and I loved the corruscating coda. A nicely flowing (II) with the on stage cowbells providing the high point. The ears felt cleansed for an unusually lucid (iii) while as usual all roads led to the finale. It seemed that (iv) didn't get too hung up on the hammer blows; in fact it was the music that immediately followed them that I most vividly recall.

Fine full toned playing from the orchestra, superb horns and the percussion department just phenomenal with a special mention for xylophone, celesta and cymbals. Perhaps just a lingering doubt or two that the cumulative power of the work amounted to less than the greatest accounts heard in the past. But I'm not sure about that and in any event a triumphant first performance from V J and his splendid orchestra.

[Petrushka]

Tremendous Mahler 6! And all relayed in superb sound quality by the engineers. This was Mahler 6 as I 'hear' it in my head with so much detail brought out especially in the percussion. Only the hammer blows seemed to sound timid but then I've never heard those as I do in my head.

The opening tempo was just right; no world weary trudge (as per Barbirolli) or jaunty march (Kubelik). In fact everything seemed pretty much right with this performance and if it's going to be issued on the LPO label in Jurowski's on-going Mahler series then I can't wait. Ten out of ten.

[johnb]

Tremendous Mahler 6! And all relayed in superb sound quality by the engineers. This was Mahler 6 as I 'hear' it in my head with so much detail brought out especially in the percussion. Only the hammer blows seemed to sound timid but then I've never heard those as I do in my head.

Absolutely! Stunning performance and very good sound quality (on iPlayer at least).

(Strange how the hammer blows never seem to come over that well in broadcasts or recordings.)

[Nick Armstrong]

Tremendous

Stunning

Back from the hall: "I agree with the above!" would be my provisional report... plus...

Fine full toned playing from the orchestra, superb horns and the percussion department just phenomenal with a special mention for xylophone, celesta and cymbals. Perhaps just a lingering doubt or two that the cumulative power of the work amounted to less than the greatest accounts heard in the past. But I'm not sure about that and in any event a triumphant first performance from V J and his splendid orchestra.

I agree with all that too, and I shared that doubt... I don't buy 'Andante 2nd' (qv previous debates). Overall, 'cumulatively' to use your word, I wasn't carried away 'spiritually' / 'emotionally' ... call it what you will. But individual movements and passages carried overwhelming expressive intensity - riveting.

And yes, what playing. In addition to the above, I was knocked out by the two main trumpeters (they look rather like a red-faced brother and sister!): they have flame-proof, bomb-proof lips and techniques - it was a long, testing concert and theirs was faultless, dazzling playing !!


PS Lawrence Power was likewise riveting and the concerto absorbing - some immediately-enjoyable music, and more to discover on further listening. A lot of Britten influence / hommage, I detected...

[Alison]

Such was the precision and projection of the percussion throughout the symphony I can only conclude that the slightly timid hammer blows were intentional. It seemed part of VJ's conception that over theatricality wasn't called for. Lots of fresh new timbres and textures elsewhere were ample compensation.

Was this a sell out by the way ?

[teamsaint]

The MacMillan was really enjoyable on first hearing, well worth further listens.

Missed the Mahler due to the Saints "crisis", so can listened armed with the board's critical opinion later, and looking forward to so doing.

[LaurieWatt]

Such was the precision and projection of the percussion throughout the symphony I can only conclude that the slightly timid hammer blows were intentional. It seemed part of VJ's conception that over theatricality wasn't called for. Lots of fresh new timbres and textures elsewhere were ample compensation.

Was this a sell out by the way ?

I think it was a sell out or very close to it. I agree with Caliban as to the overall emotional impact although I thought the performance was absolutely stunning all round and the conception very carefully thought through and I suspect, as I get to know the performance and work through VJ's conception, the emotional impact will come. VJ will have thought it through down to the finest detail including the A/S order of the middle movements (which has always been my preference although I can see the attraction of S/A - I thought that the programme note dealt with the arguments very succinctly). I am delighted that the R3 came over well because other than their main pair of their own mikes over the orchestra the BBC used all the other feeds from the LPO's recording setup! P.s. I loved the Macmillan!

[slarty]

The opening tempo was just right; no world weary trudge (as per Barbirolli) or jaunty march (Kubelik). In fact everything seemed pretty much right with this performance and if it's going to be issued on the LPO label in Jurowski's on-going Mahler series then I can't wait. Ten out of ten.

It is a great pity that the "world weary trudge" describing Barbirolli's opening of his commercial recording is really very unrepresentative of how he actually conducted this work.
His recording was made during 17th - 19th August 1967. However on the evening before the recordings began, on the 16th August, he performed the work with the same orchestra(Philharmonia) and thankfully this wonderful performance is preserved on a Testament CD(SBT 1451) in glowing stereo. To compare both performance and recording blind, one could assume that the were by different conductors. Testament - 74 minutes 42 seconds - HMV - 84 minutes 08 seconds. (first Mvmt - 19m08s (T) 21m 19s(HMV) - these are significant differences.
This "world weariness" could overtake JB significantly during his last years, marring some recordings (and performances).
However if one compares the other Testament CD of JB conducting Mahler 6 with the BPO one year earlier and the 1965 Prom performance with the Halle with the 1967 performance, they are all very similar in opening and overall timings with a proper march-like tempo(aprrox 100-103 beats per minute) as against the commercial recording which is almost turgid by comparison.
JB came alive more often in the evenings and most of his best recordings were taped during afternoon sessions rather than mornings.
Try the Testament Prom with the Philharmonia to hear how JB really conducted this work.

[LaurieWatt]

...Only the hammer blows seemed to sound timid but then I've never heard those as I do in my head....

I am sure that Andy Barclay (LPO Principal Percussion) will forgive me this quote from a thread on Facebook: "Today's interesting discovery - if you play the hammer in Mahler 6 with a little too much enthusiasm the hammer kicks back at you making you take a step backwards into a pair of 24" cymbals which then fall on the floor but you can't hear them because there are 9 LPO horns in front of you rearranging your internal organs while it happens. Just another day at the office......."
It was the concert.... I certainly did not hear it.

[Barbirollians]

It is a great pity that the "world weary trudge" describing Barbirolli's opening of his commercial recording is really very unrepresentative of how he actually conducted this work.
His recording was made during 17th - 19th August 1967. However on the evening before the recordings began, on the 16th August, he performed the work with the same orchestra(Philharmonia) and thankfully this wonderful performance is preserved on a Testament CD(SBT 1451) in glowing stereo. To compare both performance and recording blind, one could assume that the were by different conductors. Testament - 74 minutes 42 seconds - HMV - 84 minutes 08 seconds. (first Mvmt - 19m08s (T) 21m 19s(HMV) - these are significant differences.


This "world weariness" could overtake JB significantly during his last years, marring some recordings (and performances).
However if one compares the other Testament CD of JB conducting Mahler 6 with the BPO one year earlier and the 1965 Prom performance with the Halle with the 1967 performance, they are all very similar in opening and overall timings with a proper march-like tempo(aprrox 100-103 beats per minute) as against the commercial recording which is almost turgid by comparison.
JB came alive more often in the evenings and most of his best recordings were taped during afternoon sessions rather than mornings.
Try the Testament Prom with the Philharmonia to hear how JB really conducted this work.

As much as I have enjoyed the Testament the EMI does not deserve to be so airily dismissed - yes it is slow but heavens what darkness there is in that movement that actually works well with the rest of the symphony .

[slarty]

As much as I have enjoyed the Testament the EMI does not deserve to be so airily dismissed - yes it is slow but heavens what darkness there is in that movement that actually works well with the rest of the symphony .

I was not dismissing it - I merely said it was unrepresentative of his known interpretation of the work.

[amateur51]

I think it was a sell out or very close to it. I agree with Caliban as to the overall emotional impact although I thought the performance was absolutely stunning all round and the conception very carefully thought through and I suspect, as I get to know the performance and work through VJ's conception, the emotional impact will come. VJ will have thought it through down to the finest detail including the A/S order of the middle movements (which has always been my preference although I can see the attraction of S/A - I thought that the programme note dealt with the arguments very succinctly). I am delighted that the R3 came over well because other than their main pair of their own mikes over the orchestra the BBC used all the other feeds from the LPO's recording setup! P.s. I loved the Macmillan!

So there's a strong possibility of a CD release eventually, LaurieWatt?

[LaurieWatt]

So there's a strong possibility of a CD release eventually, LaurieWatt?

The recording was for the LPO Archive but I hope that this will be released on the LPO label, as it was so good, but with a major work like this VJ will often want to let his thoughts settle and he may well wait until they have played it together a few times (as by taking it on tour). For example, picking up the points about emotional temperature which one or two boarders have mentioned and with which I agree (also see Classical Source review from David Gutman today - http://www.classicalsource.com/db_co...w.php?id=11685), VJ thoughts about the emotional quotient of the work may change in which case he will say wait! We shall see!

[amateur51]

The recording was for the LPO Archive but I hope that this will be released on the LPO label, as it was so good, but with a major work like this VJ will often want to let his thoughts settle and he may well wait until they have played it together a few times (as by taking it on tour). For example, picking up the points about emotional temperature which one or two boarders have mentioned and with which I agree (also see Classical Source review from David Gutman today - http://www.classicalsource.com/db_co...w.php?id=11685), VJ thoughts about the emotional quotient of the work may change in which case he will say wait! We shall see!

Exciting propect, many thanks - I'll check the LPO website for details of the tour