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.
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.
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