What was your last concert?

[Exonian]

Concertgebouw, Amsterdam : Thursday 22nd August - Royal Concertgebouw Orchestra ; Bronfman/Gatti : Lutoslawski - Funeral Music in Memoriam of Bela Bartok ; Bartok - 3rd Piano Concerto sz.119 ; Prokofiev - Romeo and Juliet Suite, op.64

Concertgebouw, Amsterdam : Friday 23rd August - Gustav Mahler Youth Orchestra ; Phillipe Jordan/Thibaudet : Wagner - Rienzi Act 1 "The Last Of The Tribunes" ; Ravel - Piano Concerto in G ; Shostakovich Symphony No.5 in D op.47

[Nick Armstrong]

Concertgebouw, Amsterdam : Thursday 22nd August - Royal Concertgebouw Orchestra ; Bronfman/Gatti : Lutoslawski - Funeral Music in Memoriam of Bela Bartok ; Bartok - 3rd Piano Concerto sz.119 ; Prokofiev - Romeo and Juliet Suite, op.64

Concertgebouw, Amsterdam : Friday 23rd August - Gustav Mahler Youth Orchestra ; Phillipe Jordan/Thibaudet : Wagner - Rienzi Act 1 "The Last Of The Tribunes" ; Ravel - Piano Concerto in G ; Shostakovich Symphony No.5 in D op.47

Crikey, Exonian. What a pleasant end to the week on the banks of the Amstel!

You may have noticed that on the thread about the Proms performance by the GMYO the night after, there was some controversy about the performance of the Ravel concerto. I was unashamedly enthusiastic. How did it strike you the previous evening?

[Exonian]

Hello Caliban - it seemed ironic given their appearance at the Proms the very next night - but we've had our Proms live fix this summer and Amsterdam is a place we know and like a lot. I worked there many years ago and believe it or not it is just as easy to fly from Exeter Airport to Amsterdam than to get the train to London - and at no great cost.

Travel news aside, I thought the Thibaudet performance excellent. At his best when he restrains from showing us his undeniably brilliant pianism, he can be a very sensitive interpreter of Ravel. The opening movement had some of that wonderful snap crackle and pop followed by a beautifully judged slow movement. The orchestra showed plenty of fire and colour in the finale almost as if they were building up to the rather bleaker musical soundscape of the Shostakovich. Ravel can be a very stern and unforgiving composer for orchestral soloists but to my lay ears they performed well. As someone else has rightly mentioned, the Concertgebouw acoustics are sensational - I am not sure if there are many better places to actually hear the music. Oh yes, and the ticket prices are good!

[hmvman]

A good musical week for me. The Scarborough Spa Orchestra's morning concert on Tuesday. Sitting in the Sun Court on a lovely, sunny September day listening to a variety of light music classics was perfection.

This afternoon an organ recital by John Scott Whiteley at York's Central Methodist Church organ. A splendid recital including Widor's Allegro from Symphony No.6, Bach's Prelude and Fugue in D, BWV532 and Dupré's Prelude & Fugue.

This evening the Academy of St Olave's in York, a concert including Britten's Serenade for Tenor, Horn and Strings.

[Nick Armstrong]

25 September, Barbican, 7.30
R Strauss: Burleske for piano & orchestra
Mahler: Symphony No 6
Barry Douglas, piano
Thomas Dausgaard, conductor
London Symphony Orchestra

Looks a good 'un, Caliban - I look forward to reading your review

Wasn't Sir Colin Davis originally down to conduct this concert? It would have been fascinating to have heard him in Mahler 6.

Good heavens, Pet - was he? I agree that would have been amazing... Doesn't seem like a Colin Davis programme... but o yes, if only...

As it was - it got better as it went along, I thought. The Burleske is an odd, thickly-scored contraption - I didn't think they made the best of it, Douglas didn't seem quite inside it, and the orchestra sounded loud and the strings shrill.

The first movement of the Mahler was of the brisk, punchy school - didn't quite draw me in, possibly in part because of the odd phenomenon mentioned at the end of this post It was very interesting to hear the slow movement second, I think the first time that's happened live in my concert-going experience... I missed the harp-laden descent into the abyss at the end though... it seemed odd to go back to the strutting scherzo... Best of all was the last movement, well paced, and some truly fabulous playing from brass and woodwinds, especially low down - we agreed we'd never heard the dark, growling music more black and infernal And that last movement, live, banishes all distractions - never fails to grip.

Ah yes - the oddity of the concert... From where we were sitting, Thomas Dausgaard looks exactly like... Father Ted I had to look elsewhere or shut my eyes - if I opened them and looked at him esp if he was emoting with mouth open, I was straight back to Craggy Island, the episode "Where Ted Dreams He's Conducting a Symphony Orchestra"... Are y'all right there, Ted?!?!



But that was banished by Andrew Marriner and his fellow wind players in the last movement

[Richard Tarleton]

The Burleske is an odd, thickly-scored contraption - I didn't think they made the best of it, Douglas didn't seem quite inside it, and the orchestra sounded loud and the strings shrill.

Nice Previn anecdote re the Burleske, told in the history of the Cleveland but I've heard Previn tell the story in a TV interview....

They met in Szell's hotel room. Previn said that after initial conversation, Szell asked him to play the piano part. Previn looked around. There was no piano to be seen. Szell ordered him to "play" it on a nearby tabletop, and then began to order him to play faster!—slower!—more expressively! Finally, exasperated, Previn told Szell that he couldn't follow his instructions because he was used to his table at home, which had a different action. Szell was not amused, and threw him out.

[Nick Armstrong]

Nice Previn anecdote re the Burleske, told in the history of the Cleveland but I've heard Previn tell the story in a TV interview....

They met in Szell's hotel room. Previn said that after initial conversation, Szell asked him to play the piano part. Previn looked around. There was no piano to be seen. Szell ordered him to "play" it on a nearby tabletop, and then began to order him to play faster!—slower!—more expressively! Finally, exasperated, Previn told Szell that he couldn't follow his instructions because he was used to his table at home, which had a different action. Szell was not amused, and threw him out.

[amateur51]

Good heavens, Pet - was he? I agree that would have been amazing... Doesn't seem like a Colin Davis programme... but o yes, if only...

As it was - it got better as it went along, I thought. The Burleske is an odd, thickly-scored contraption - I didn't think they made the best of it, Douglas didn't seem quite inside it, and the orchestra sounded loud and the strings shrill.

The first movement of the Mahler was of the brisk, punchy school - didn't quite draw me in, possibly in part because of the odd phenomenon mentioned at the end of this post It was very interesting to hear the slow movement second, I think the first time that's happened live in my concert-going experience... I missed the harp-laden descent into the abyss at the end though... it seemed odd to go back to the strutting scherzo... Best of all was the last movement, well paced, and some truly fabulous playing from brass and woodwinds, especially low down - we agreed we'd never heard the dark, growling music more black and infernal And that last movement, live, banishes all distractions - never fails to grip.

Ah yes - the oddity of the concert... From where we were sitting, Thomas Dausgaard looks exactly like... Father Ted I had to look elsewhere or shut my eyes - if I opened them and looked at him esp if he was emoting with mouth open, I was straight back to Craggy Island, the episode "Where Ted Dreams He's Conducting a Symphony Orchestra"... Are y'all right there, Ted?!?!



But that was banished by Andrew Marriner and his fellow wind players in the last movement

Must say I prefer the adagio in second place, the scherzo sounding too much like a reworking of the first movement to my ears if it's placed second.

How were the hammer blows delivered; and how many were there?

Loved the Previn/Szell story, RT and your Father Ted fantasy, Cali - had you been on the absinthe frappé at the interval? :

[Nick Armstrong]

Brahms Piano Concerto No 1 with Hélène Grimaud, and Brahms 1 - Philharmonia under Hannu Lintu.

The latter proved an inspired stand-in for the ailing Nelsons. I thought his accompaniment of Grimaud was deft - we were well placed to see the way he worked with her - and it was a very good performance of the Symphony I thought, getting better and better and a really tremendous last movement. I loved the way he managed tempo changes, balancing real impetus and pulse, with deft phrasing and expression - and the were revelations for me in the way he handled that falling four-note theme that is introduced on the horn

There was something about the way he got the various sections to phrase and exchange that theme which I found enthralling in a way I can't recall before - especially where it comes twice, descending, on all the violins, then handed to the horns.... Got me going, I don't mind saying! He's a galvanic presence on the podium too, I really like his style.

And Mlle. Grimaud Beauty. Power. Precision. What more need one say?

Pretty excellent evening in the RFH

[Alison]

You bottled the autograph ?

[Nick Armstrong]

You bottled the autograph ?

She was sat at a table in the foyer afterwards with hordes of fawning folk around her...

It was not the right .... ambiance...

[Alison]

Right on, I was expecting a Caliban back stage exclusive chat. You are excused.

Pleased that there was no anti-climax after the change in conductor.

I expect Smithy was belting it out on timps!

[Richard Tarleton]

Brahms Piano Concerto No 1 with Hélène Grimaud, and Brahms 1 - Philharmonia under Hannu Lintu.

And Mlle. Grimaud Beauty. Power. Precision. What more need one say?

Pretty excellent evening in the RFH

There's a review today of Grimaud/Nelsons' CD of the 2 concs on DG in today's Times - time to nip round to the corner shop if Oedipus hasn't had his walk yet It does describe Ms G as a "mixed blessing", something about "impressive...when she's not pumping out testosterone" and the D minor as "monumental", "an interpretation to admire rather than love" but Geoff Brown [who he?] likes the quiet bits.

[teamsaint]

Right on, I was expecting a Caliban back stage exclusive chat. You are excused.

Pleased that there was no anti-climax after the change in conductor.

I expect Smithy was belting it out on timps!

Well I was right behind the timps , Sitting in the choir, and thus couldn't see who it was on timps, but it sounded well up to the usual Philharmonia standard !! Got it with both barrels back there !


I agree that Lintu must have made plenty of friends last night. I also really enjoyed his style. Something of a contrast to the playing style of Grimaud. Like Cals, I thought that the last movement of the Symphony was quite exceptional. I happened to watch Lintu carefully in this movement, from my excellent vantage point, and his control of subtle changes of pace was remarkable. His smiles are certainly hard won, but the orchestra seemed to be thoroughly "onside"

I'd pay to see him conduct again, no worries.
My first time seeing the Concerto live, but Grimaud's performace was as good as I could have hoped for. Apart from her great skills, she has a very winning way about her.

left the hall with that..." What comes after that ?" feeling.

Great night out, great music. What an antidote to the onset of the cold part of autumn. Can't believe they can't sell out the RFH for entertainment like that.

5 out of 5 from me.

( I didn't get an autograph either...).

[amateur51]

Well I was right behind the timps , Sitting in the choir, and thus couldn't see who it was on timps, but it sounded well up to the usual Philharmonia standard !! Got it with both barrels back there !


I agree that Lintu must have made plenty of friends last night. I also really enjoyed his style. Something of a contrast to the playing style of Grimaud. Like Cals, I thought that the last movement of the Symphony was quite exceptional. I happened to watch Lintu carefully in this movement, from my excellent vantage point, and his control of subtle changes of pace was remarkable. His smiles are certainly hard won, but the orchestra seemed to be thoroughly "onside"

I'd pay to see him conduct again, no worries.
My first time seeing the Concerto live, but Grimaud's performace was as good as I could have hoped for. Apart from her great skills, she has a very winning way about her.

left the hall with that..." What comes after that ?" feeling.

Great night out, great music. What an antidote to the onset of the cold part of autumn. Can't believe they can't sell out the RFH for entertainment like that.

5 out of 5 from me.

( I didn't get an autograph either...).

Glad it went well, teams - was it your first time in the Choir at RFH? It's a bargain place to sit, I think if you want to feel really involved