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  • teamsaint
    Full Member
    • Nov 2010
    • 25195

    Los Angeles Philharmonic / Dudamel
    Messiaen's Des canyons aux étoiles

    Barbican March 23.

    Joanne Pearce Martin. Piano
    Andrew Bain. Horn


    This was the second night of a short residency at the Barbican for this rather glamorous combo.

    We only made it to the concert by the skin of our teeth, and thanks to a cabbie who did the last couple of miles in smart time, after we abandoned a snail like tube ride. Endless travel delays meant we arrived at 7.28 without tickets collected, and with the Barbican threatening absolutely no entry to latecomers. Luckily the Barbican's enhanced bag/security checks , and long queues of other late arrivers meant a late start at about 7.45 so our very slow 80 mile treck wasn’t in vain.

    The promised visuals were very much part of the advertised package, but we’d have been there with or without. They are likely though to be a major talking point around this performance. I felt they were mostly a bit irrelevant , actually. Some beautiful, and at times appropriate imagery, ( deserts, Birds, human interference, human wonder at beauty) but predominantly I found myself deliberately or naturally avoiding. Part of the problem is that they just add an extra layer of complexity ( in terms of listener interpretation) to musical work that really doesn’t need it. However, they weren’t really a problem as such, and it was an interesting if not wholly successful addition to the music. It might be interesting if the visuals were made available on youtube. The visuals worked best I thought when still or very slowly moving.

    The performance itself was as one might hope of a work like this. Fully engaging, and expertly carried out.

    The horn solo Appel Interstellaire was quite magnificent, the sort of playing that leaves you in absolute wonder at the skill, and especially in the switches between the full and mutes modes. The very considerable piano part was also impressively performed with great style and energy.
    Dudamel was very poised and rather "hands off" for this performance. Not much to compare it with in terms of live performace, but the clarity of sound and intention was impressive.

    Audience reaction was appreciative rather than ecstatic, but as so often the response was to the music, rather than the performance. Despite the sometimes abrasive sound world, Messiaen surely always invites contemplation, and this was the response the piece achieved, I would say.

    So , bouquets for those on the platform, but boos for some in the audience, which seemed to contain a high number of ill people, with hard to control coughs. It was awful in the first two movements, and rather annoying in general, and not improved by the inter movement outbreaks.

    Never mind, a night to savour and remember, and a fine performance of a special work which probably doesn’t get that many outings, certainly not as many as its diverse beauty deserves.
    As for the Barbican acoustic…..the only problem is getting through London to experience it !



    And I'm glad I gave the cabbie a decent tip, it was well worth it.
    Last edited by teamsaint; 24-03-16, 21:35.
    I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.

    I am not a number, I am a free man.

    Comment

    • HighlandDougie
      Full Member
      • Nov 2010
      • 3081

      Schönberg: String Quartet No 1 in d minor, op.7

      Quatuor Diotima (in the Monte Carlo Opera House)

      What an astonishing work this is - AS channelling late Beethoven and producing a work of formidable density but also of almost heart-stopping beauty. Vast numbers of notes on the page at times but then almost whispered writing for each instrument. I am not so familiar with the work that I can pass a judgement about whether it was a great performance or not but I would hazard a guess and say that that was the case. It was impassioned, technically immaculate and wholly convincing. Suitably gilded surroundings (the Opéra Garnier is often described as a "little jewel box") with tasteful abstract designs in warm colours projected onto the stage curtain adding to the atmosphere without detracting from the intensity of the performance or the sublime quality of the music. In a word, fantastic.

      Comment

      • Beresford
        Full Member
        • Apr 2012
        • 555

        Originally posted by Caliban View Post
        Can't help thinking of him playing the silent Karla for John le Carre's George Smiley.

        Comment

        • muzzer
          Full Member
          • Nov 2013
          • 1190

          Originally posted by teamsaint View Post
          Los Angeles Philharmonic / Dudamel
          Messiaen's Des canyons aux étoiles

          Barbican March 23.

          Joanne Pearce Martin. Piano
          Andrew Bain. Horn


          This was the second night of a short residency at the Barbican for this rather glamorous combo.

          We only made it to the concert by the skin of our teeth, and thanks to a cabbie who did the last couple of miles in smart time, after we abandoned a snail like tube ride. Endless travel delays meant we arrived at 7.28 without tickets collected, and with the Barbican threatening absolutely no entry to latecomers. Luckily the Barbican's enhanced bag/security checks , and long queues of other late arrivers meant a late start at about 7.45 so our very slow 80 mile treck wasn’t in vain.

          The promised visuals were very much part of the advertised package, but we’d have been there with or without. They are likely though to be a major talking point around this performance. I felt they were mostly a bit irrelevant , actually. Some beautiful, and at times appropriate imagery, ( deserts, Birds, human interference, human wonder at beauty) but predominantly I found myself deliberately or naturally avoiding. Part of the problem is that they just add an extra layer of complexity ( in terms of listener interpretation) to musical work that really doesn’t need it. However, they weren’t really a problem as such, and it was an interesting if not wholly successful addition to the music. It might be interesting if the visuals were made available on youtube. The visuals worked best I thought when still or very slowly moving.

          The performance itself was as one might hope of a work like this. Fully engaging, and expertly carried out.

          The horn solo Appel Interstellaire was quite magnificent, the sort of playing that leaves you in absolute wonder at the skill, and especially in the switches between the full and mutes modes. The very considerable piano part was also impressively performed with great style and energy.
          Dudamel was very poised and rather "hands off" for this performance. Not much to compare it with in terms of live performace, but the clarity of sound and intention was impressive.

          Audience reaction was appreciative rather than ecstatic, but as so often the response was to the music, rather than the performance. Despite the sometimes abrasive sound world, Messiaen surely always invites contemplation, and this was the response the piece achieved, I would say.

          So , bouquets for those on the platform, but boos for some in the audience, which seemed to contain a high number of ill people, with hard to control coughs. It was awful in the first two movements, and rather annoying in general, and not improved by the inter movement outbreaks.

          Never mind, a night to savour and remember, and a fine performance of a special work which probably doesn’t get that many outings, certainly not as many as its diverse beauty deserves.
          As for the Barbican acoustic…..the only problem is getting through London to experience it !



          And I'm glad I gave the cabbie a decent tip, it was well worth it.
          On the subject of coughing I am just back from the RFH to hear the RPO under Dutoit. I will listen on the iplayer to see how much of the bronchial epidemic made it into the broadcast. It's as if people save up their worst for the start and/or quietest passages. If anyone else here was present or listening I'd be interested to learn whether it's just me......The performance I thoroughly enjoyed of course.

          Comment

          • LeMartinPecheur
            Full Member
            • Apr 2007
            • 4717

            Concert the night before last at St Endellion was Mark Padmore's apparently very first Winterreise. Quite wonderful. (Difficult to see how he might do it better with experience.)

            Tonight we had Padmore in Dies Natalis and Roddy Williams in JSB Ich habe genug BWV82. AND a terrific Elgar Intro & Allegro. Plus Woolrich Ulysees awakes and Handel Op 6/11.

            Rich diet down here in Cornwall, even without the pasties and clotted cream
            I keep hitting the Escape key, but I'm still here!

            Comment

            • Bryn
              Banned
              • Mar 2007
              • 24688

              Feldman: Piano and String Quartet (John Tilbury and the Smith Quartet), St. John's, Smith Square last night. On this occasion the Smith Quartet reverted to modern bows, rather than the baroque bows they have previously used when playing Feldman. The decision was apparently conditioned by the acoustic properties of the venue. It is a curious environment. The perceived balance between the piano and the strings varied significantly depending on where you sat. From my seat, four back from the front, the piano sounded very slightly recessed, but someone sitting a few rows further back heard the piano as dominating the acoustic. Whatever, a fine start to the "Principal Sound" weekend. Next concert on the mini-fest starts a 5.00 pm today.

              Comment

              • Daniel
                Full Member
                • Jun 2012
                • 418

                Originally posted by teamsaint View Post
                Los Angeles Philharmonic / Dudamel
                Messiaen's Des canyons aux étoiles

                Barbican March 23.

                Joanne Pearce Martin. Piano
                Andrew Bain. Horn

                [...]
                The promised visuals were very much part of the advertised package, but we’d have been there with or without. They are likely though to be a major talking point around this performance. I felt they were mostly a bit irrelevant , actually. Some beautiful, and at times appropriate imagery, ( deserts, Birds, human interference, human wonder at beauty) but predominantly I found myself deliberately or naturally avoiding. Part of the problem is that they just add an extra layer of complexity ( in terms of listener interpretation) to musical work that really doesn’t need it. However, they weren’t really a problem as such, and it was an interesting if not wholly successful addition to the music. It might be interesting if the visuals were made available on youtube. The visuals worked best I thought when still or very slowly moving.
                Thanks, ts, very interesting to hear, I was wondering what that experience would be like.

                Reading your report I think I may have had a similar reaction to you.This music conjures up so much that is visual, that unless very brilliantly done, it would seem to easily risk an information overload. One would imagine that there was some potential in exploring Messiaen's synaesthesia and its connection with the music also.

                Comment

                • Beef Oven!
                  Ex-member
                  • Sep 2013
                  • 18147

                  Originally posted by Bryn View Post
                  Next concert on the mini-fest starts a 5.00 pm today.
                  Did you go?

                  Comment

                  • Bryn
                    Banned
                    • Mar 2007
                    • 24688

                    Originally posted by Beef Oven! View Post
                    Did you go?
                    Been to 'em all. The end of the final concert (Feldman's "For Philip Guston") finished about 45 minutes ago. A well deserved standing ovation for the young performers at the end, after 4 housing 20 minutes of continuous music-making.

                    Comment

                    • Beef Oven!
                      Ex-member
                      • Sep 2013
                      • 18147

                      Originally posted by Bryn View Post
                      Been to 'em all. The end of the final concert (Feldman's "For Philip Guston") finished about 45 minutes ago. A well deserved standing ovation for the young performers at the end, after 4 housing 20 minutes of continuous music-making.


                      How was the sound? I'm only accustomed to listening to Feldman on the Hi-Fi, normally headphones!

                      Comment

                      • Bryn
                        Banned
                        • Mar 2007
                        • 24688

                        Originally posted by Beef Oven! View Post


                        How was the sound? I'm only accustomed to listening to Feldman on the Hi-Fi, normally headphones!
                        Sound was fine for me (I was seated in the front Row).

                        Comment

                        • jean
                          Late member
                          • Nov 2010
                          • 7100

                          I was at a piano recital last night - an all-Chopin programme, brilliantly played.

                          But what was really remarkable was the audience. The hall was packed, with young people overwhelmingly outnumbering the grey heads of the usual concert audience. The pianist left the platform almost invisible under enormous bouquets of flowers, and there was no queue for the ice-cream.

                          Who was the pianist?

                          Comment

                          • vinteuil
                            Full Member
                            • Nov 2010
                            • 12793

                            Originally posted by jean View Post

                            Who was the pianist?
                            ... well, you see why there was a young audience -

                            Comment

                            • jean
                              Late member
                              • Nov 2010
                              • 7100

                              And besides being young?

                              Comment

                              • vinteuil
                                Full Member
                                • Nov 2010
                                • 12793

                                ... the fact that the Chinese tend not to eat dairy products.

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