What was your last concert?

[edashtav]

Fantastic and inspiring review DJ.
If only promoters and managers had the confidence and ambition to put on such programmes more often outside of London , then perhaps new audiences could be built, and a virtuous circle of popularity and confidence begun.

Abrahamsen's SQ# 1 got a run out on the lunchtime concert recently, (also from an Irish concert), and is a very enjoyable work IMO.

Hold on to that thought that I've emboldened, ts. Here is rural Bucks, nearby Halls ( MK,Aylesbury, Northampton, etc) have many visiting groups served by an array of promoters. There's no cross-checking, resulting in over-exposure of a small core of "safe" works. They've become hackneyed, and have ceased to be reliable "bums on seats" material. Result: a diminishing and bored audience. And as for hardcore music-lovers, such as "yours truly", they stay at home with their CDs/internet radio, etc and neighbours don't realise that they're frustrated concertgoers.

What's to be done?

[ferneyhoughgeliebte]

What's to be done?

Perhaps things are better in Yorkshire (the "perhaps" being merely a courtesy, of course ) but the Music Societies and Universities within a half-hour's drive from where I live offer a very rich fare of familiar and unfamiliar Chamber Music performances on at inexpensive prices. The "neglected Brits etc" get a good look in at the Music Societies (as does Renaissance and Baroque repertoire) and Leeds and Huddersfield offer regular 21st Century programmes (not to mention free recitals by student performer Finalists). All held in smallish venues (holding up to about 300) all very well attended.

Nothing much anybody can do if you don't live near a University that has such enlightened attitude, but the Association of British Music Societies can let you know where your nearest venue is. Get involved: these are mostly run by volunteer amateurs (in the best sense of that word) and would welcome new help. You would have a direct say in what is programmed in your local area. (Can be quite good fun, too - not only for the opportunity to chat with the performers, but also excellent comedy material from the committee meetings: the Vicar of Dibley parish council meetings were a mode of good sense in comparison!)

[edashtav]

Thanks for your thoughtful and constructive post, fhg that has exposed a lack of holistic thinking on my behalf.

I was really thinking not of the "grass-roots" culture, but in an area without, say, top line resident orchestras, external ones drop by de temps en temps often offering similar fare drawn from a small sub-set of "safe" works. A by-product is that the ochestras, their conductors , and sometimes, soloists are on "auto-pilot", going through the motions as they, perhaps reluctantly play to what they feel is, an audience of "provincials" or under conditions ...

To widen the argument a little, I remember a well-meaning concert in a Sports Hall in M.K. perhaps 40 years ago, which "starred" Sir Clifford Curzon in one of the D minor Piano Concerti by Mozart, with a London-based orchestra conducted by a decent conductor. Well, you rightly point out, Mozart can withstand endless repetition. But... everyone was "going through the motions" for they must have realised at rehearsals that the monster room was an acoustic hell-hole. It was the ONLY hall large enough to have sufficient seating to make the concert pay, but it was utterly unsatisfactory. It was impossible, IMHO, to enjoy any concerted music in that venue.

Around the same time, I was invited by the then Chairnan of Aylesbury Vale D.C. (the wife of my boss!) to hear & then meet a conductor who is still active who had to perform a popular prrogramme in the fiercely dry acoustic of Aylesbury's Civic Centre. I can tell you that the Celestial Choir would have sounded like an unrehearsed Football Choir in that venue which insulated player from player and that stripped the sound of each instrument of all warmth and ability to blend. What do you say, afterwards, to the distinguished conductor when one is surrounded by the Great & the Good of the District, none of them musical, but all hanging on every good word said about their "marvellous" adaptable hall - all concrete and steel, replete with irregular comformation the sharp angles of which turned every instrument to Tommy Beecham's cats copulating on a galvanised roof?
"You were unusually silent, tonight?" said the Chairman on our return to Buckingham. She offered a large Scotch for my thoughts but I used it to drown my sorrows.

[ Update : The "failed" Civic Centre has recently been replaced by a new Theatre in Aylesbury (multi-purpose, of course)].

There are so many factors that can and do undermine "helicopter" visits to the "provinces".

[Honoured Guest]

Interesting posts on local concerts. I wonder whether they were programmed by arts officers as part of a coherent artistic strategy, or whether they were civic pride events.

To ferney's Music Societies and Universities, I'd add Festivals and Amateurs, although from the outside it's often very hard to know which Amateurs are worth an ear or when they're performing. The best Festivals offer something truly out of the ordinary and communicate what they're up to.

[edashtav]

Interesting posts on local concerts. I wonder whether they were programmed by arts officers as part of a coherent artistic strategy, or whether they were civic pride events.
.

One was Civic Pride, t'other probably emanated from an "Arts Officer" at a time when that Officer's main thrust was Sport.

Smaller authorities ( and I was referring to M.K. before it agglomerated and thought of itself as a putative city) don't have eicated Arts Officers with a knowledge of serious music and any arts strategy usually refers to what is nurtured on their patch rather than what is offered by "big boys" from elsewhere.

[Richard Tarleton]

To Cardiff's St David's Hall last night for a concert by Florilegium and the Florilegium Choir, conducted by David Hill. Two days to go before Saturday's rugby so all quiet in Cardiff - we spotted just 3 gentlemen in kilts eating in Jamie Oliver's, in rather dubious tartans (we ate in Gio's, as usual).

The programme was Charpentier's Te Deum in D Major, Gluck's Flute Concerto in G (soloist Ashley Solomon) and Mozart Mass in C Minor. The soloists for the Mozart were Elin Manahan Thomas, Helen-Jane Howells, Nick Pritchard and Robert Davies. They were joined for the Te Deum by the alto Amy Williamson, a member of the choir, who was excellent. An outstanding concert to a barely half-full hall.

[Ferretfancy]

I don't think I've enjoyed a new work as much for a long time, when the BBC SO and Leila Josefowicz gave the British premiere of Esa-Pekka Salonen's Violin Concerto at the Barbican last night with Sakari Oramo conducting.

The evening began with Pohjola's Daughter. I know this work well from recordings, but I'm not sure if I have ever heard it in a live performance, unless it was at a distant Prom in my teens. This was a fine performance.

Salonen's concerto is in four movements lasting about half an hour, with the first leading directly into the second, and the last movement is called Adieu. Josefowicz played from memory, having given the first performance in Los Angeles. Salonen makes very effective use of tuned percussion and harp as a sort of cushion underlying the rapid figuration of the solo part in the first movement, and this leads to a haunting slow movement. The scherzo that follows features a pop style drum kit integrated into the orchestra before leading into the farewell of the finale.

I strongly recommend this concerto, which will be broadcast on an afternoon in May, with iPlayer available for a week after transmission.

The concert ended with Shostakovich 5. There was some beautiful playing, especially from the winds, but overall it did not quite work for me. The opening seemed rather prosaic, and throughout the performance I missed that rather anguished tension that I love in this symphony. Never mind, it was still a workmanlike performance which my partner enjoyed rather more than I did, so perhaps I just wasn't in the right receptive mood.

[BBMmk2]

What a pity, re above, FF!

Well, I had the end of term concert, at the school where I work. the students excelled themselves last night. Had various different groups and soloists, plus the orchestra. the brass ensemble played very well, Dukas La Peri. A great evening was had by all!

[Ferretfancy]

What a pity, re above, FF!

Well, I had the end of term concert, at the school where I work. the students excelled themselves last night. Had various different groups and soloists, plus the orchestra. the brass ensemble played very well, Dukas La Peri. A great evening was had by all!

That fanfare always makes my flesh tingle ! It sounds as if it was a great evening!

I have a fond memory of a Cumbria schools concert in Kendal, with the Alpine Symphony. We wondered why the seats just behind us were empty, that is until the"offstage" horns came in ! Quite a surprise !

[Bryn]

Cafe OTO on Monday evening this week. The Scriabin generally comprised works which demonstrated why Feldman, and White, come to that, were so influenced by him. Tilbury's distinctive touch further highlighted the links.

[edashtav]

L'Ormindo Cavalli Opera Sam Wanaker Theatre / Shakspeare's Globe

I enjoyed last night greatly for the good singing, fine staging, lovely venue, brilliant candle-lighting, the excellent band and its vibrant director. What didn't I like: Cavalli's music: he wrote too much and, essentially, it's under-composed. Compare with a Monteverdi opera ? One is soft, light with the texture and shape of marshmallow, the other is full-formed, sharply etched and contains no redundancy. Last night was a lovely occasion and Cavalli provided a malleable vehicle, but, excepting the Prison Scene, his music was under-cooked and poorly seasoned.

Personally , it was great to see a former pupil, Lizzie Maccarthy, playing baroque viola in the small orchestra. A time there was when she played violin in Monteverdi's Beatus Vir in a school concert.

[teamsaint]

Philharmonia Orchestra/ Hrusa at the RFH Thursday night.

A sultry night in the RFH to enjoy a minor feast of Czech music.
The evening was kicked off with a short audio visual of Hrusa speaking about Czech music, which , to be honest , I couldn't really see the point of, offering as it did only the briefest introduction. Short enough not to intrude though.

The overture to Jenufa was first on the menu. Actually, this didn't really work, for me. I don't know Jenufa, but this short piece is surely a taste of an emotions to be played out in the opera, and I didn't feel it worked especially well as an overture to the kind of fare on offer later in the evening.

The Soloist for the Dvorak VC was Arabella Steinbacher. She swept in , in a very striking full length Crimson red dress. She plays with a beautiful tone, and with spectacular end of phrase arm flourishes, but perhaps, just perhaps, lacks the final ounce of power of other top soloists.
The first movement felt as though it was at a fairly sedate tempo, allowing space for some carefully expressive playing. This was the over riding feeling throughout the piece. Hrusa kept the limited forces in check throughout, but the finale ended in stirring fashion.

Josef Suk's Prague was the least familiar work on offer. A warm spring evening on the banks of the Thames added nicely to the atmosphere of the Czech capital that Suk evokes. Its an entertaining work, with some fairly striking recurring themes, notably the rising dotted rhythm theme. The piece describes, (I assume) the history of Prague ,in episodic fashion, and without a detailed knowledge, I rather ended up playing " guess the historial event" as the 30 minute piece progressed. It has plenty of drama , from its "mists of time" atmospheric start,through moments of evident imminent danger, and inevitably on to several triumphal highlights. Its a strong and evocative piece, well worth hearing. It would make an excellent Proms piece, with plenty of drama.

Janacek's Sinfonietta was kept till last, and it was just as well, as it blew the rest of the evening out of the water. Hrusa is clearly right at home in this work, and has plenty of opportunity to demonstrate his expansive conducting style.
The first movement requires exceptional timing between timps (Smithy bang on form, and keeping himself in check) and the off stage brass, and this was accomplished pretty well, and with excellent quality of brass sound. This set the second movement up nicely, the highlight of which was some wonderfully snarly trombone playing.
The pace changes in the third movement felt absolutely right, as in fact did tempi througout the work, a sign of Hrusa's surefootedness in this repertoire.
The fourth movement and in the Fifth ,a well controlled build up to the return of the off stage brass (in the choir) led us to a really tumultuous climax, which must have been knockout towards the front of the hall
The brass playing, so critical, was close to exemplary, and really helped to create a memorable performance.
A fine audience response from a pretty sparse turnout. The Janacek performance was the kind of music that finds you grinning as you stand to leave, and exchanging comments on its excellence with strangers. Top class stuff, a true C20 classic.

Had a brief chat with another concert goer at the end, who said that a Proms performance of the Janacek, many years ago, had changed music for him, aged 16, for ever. A lesson to learn there, I think.

[Beef Oven!]

Philharmonia Orchestra/ Hrusa at the RFH Thursday night.

A sultry night in the RFH to enjoy a minor feast of Czech music.
The evening was kicked off with a short audio visual of Hrusa speaking about Czech music, which , to be honest , I couldn't really see the point of, offering as it did only the briefest introduction. Short enough not to intrude though.

The overture to Jenufa was first on the menu. Actually, this didn't really work, for me. I don't know Jenufa, but this short piece is surely a taste of an emotions to be played out in the opera, and I didn't feel it worked especially well as an overture to the kind of fare on offer later in the evening.

The Soloist for the Dvorak VC was Arabella Steinbacher. She swept in , in a very striking full length Crimson red dress. She plays with a beautiful tone, and with spectacular end of phrase arm flourishes, but perhaps, just perhaps, lacks the final ounce of power of other top soloists.
The first movement felt as though it was at a fairly sedate tempo, allowing space for some carefully expressive playing. This was the over riding feeling throughout the piece. Hrusa kept the limited forces in check throughout, but the finale ended in stirring fashion.

Josef Suk's Prague was the least familiar work on offer. A warm spring evening on the banks of the Thames added nicely to the atmosphere of the Czech capital that Suk evokes. Its an entertaining work, with some fairly striking recurring themes, notably the rising dotted rhythm theme. The piece describes, (I assume) the history of Prague ,in episodic fashion, and without a detailed knowledge, I rather ended up playing " guess the historial event" as the 30 minute piece progressed. It has plenty of drama , from its "mists of time" atmospheric start,through moments of evident imminent danger, and inevitably on to several triumphal highlights. Its a strong and evocative piece, well worth hearing. It would make an excellent Proms piece, with plenty of drama.

Janacek's Sinfonietta was kept till last, and it was just as well, as it blew the rest of the evening out of the water. Hrusa is clearly right at home in this work, and has plenty of opportunity to demonstrate his expansive conducting style.
The first movement requires exceptional timing between timps (Smithy bang on form, and keeping himself in check) and the off stage brass, and this was accomplished pretty well, and with excellent quality of brass sound. This set the second movement up nicely, the highlight of which was some wonderfully snarly trombone playing.
The pace changes in the third movement felt absolutely right, as in fact did tempi througout the work, a sign of Hrusa's surefootedness in this repertoire.
The fourth movement and in the Fifth ,a well controlled build up to the return of the off stage brass (in the choir) led us to a really tumultuous climax, which must have been knockout towards the front of the hall
The brass playing, so critical, was close to exemplary, and really helped to create a memorable performance.
A fine audience response from a pretty sparse turnout. The Janacek performance was the kind of music that finds you grinning as you stand to leave, and exchanging comments on its excellence with strangers. Top class stuff, a true C20 classic.

Had a brief chat with another concert goer at the end, who said that a Proms performance of the Janacek, many years ago, had changed music for him, aged 16, for ever. A lesson to learn there, I think.

Fascinating observations and an informative review. Many thanks for posting.

Somehow I can just see myself having a similar reaction to the programme.

Sinfonietta is magic, innit?

[Nick Armstrong]

Yes a fascinating review, teams. I need to hear the Sinfonietta live again (heard it a couple of times, inc at the Proms). It's not a piece I seek out now on CD - a bit like Rite of Spring, it's one I just want to experience in the flesh.

[amateur51]

Yes a fascinating review, teams. I need to hear the Sinfonietta live again (heard it a couple of times, inc at the Proms). It's not a piece I seek out now on CD - a bit like Rite of Spring, it's one I just want to experience in the flesh.

I completely agree Caliban - I recently attended a RAM orchestral concert conducted by Edward Gardner and containing both Sinfonietta and Taras Bulba and it was was an extraordinarily satisfying experience to get the full sonic heft at maximum tilt