Prom 30: Rachmaninov’s Second Piano Concerto - 6 August 2023

[Maclintick]

[COLOR=#3300ff] Although I agree that the pianist’s performance was stellar, I have to say I didn’t enjoy Wilson’s way with some of the orchestral phrasing - some glissandi which to me sounded mannered rather than idiomatic….

Completely agree re Alem Beisembayev's freshly poetic playing, but was not entirely convinced by Wilson's "portamento applicato" (Italian speakers correct as necessary) especially at the entry of the main theme of the finale in the strings, moderato 16 bars before fig.31, where it stood out as "sprayed on" like fake tan.

In the 2002 Prom season I was lucky enough to hear the distinguished American pianist André Watts, who died in July this year, play this same concerto. During the interval I bumped into a friend who'd been depping in the orchestra, & who, like me, was blown away by Watts' consummate artistry -- everything in place, beautifully articulated, no tell-tale droppings from the fabled "warhorse" etc. "Let's go & tell him how much we liked it" said my friend, so we made our way backstage to Dressing room 2, knocked on the door, and were admitted. He was there alone, no agent, no entourage, & very welcoming to a couple of new admirers. I have little recollection of our conversation, but reading his CV later, I hadn't realised what a hugely significant figure he was in popularising classical music in the sixties in America through Bernstein's TV series.

[Nick Armstrong]

Lovely story about André W, Maclintick; and great simile for many modern attempts at portamento:

it stood out as "sprayed on" like fake tan

In recent years, in Rachmaninov’s 2nd Symphony, there’s been a fad among conductors for adding a big slide between the fifth and sixth notes (the rising third) of the romantic melody in the Trio sections of the Scherzo - but nowhere else. It’s a real turn-off for me - to continue your cosmetic imagery, it always makes me think of a big smear of lipstick… The classic Previn / LSO recording is mercifully free of it, as I think all the performances I know until maybe the last ten years.

Interestingly (to me, at least), the wonderful Bournemouth/Karabits performance in this year’s Proms (No 24) had the just the very subtlest hint of portamento between those two notes - it worked nicely, and didn’t sound ‘sprayed on’ at all!

[smittims]

You certainly don't get the poramento in Sir Adrian Boult's recording. I think he, and Toscanini, were most influential in gardually eradicating it during their careers.

[Barbirollians]

Caught up with this last night .I enjoyed the Boulanger , I agree with all the encomiums for the soloist and there is no doubt that the Sinfonia of London is a technically brilliant orchestra but …

The Walton left me cold . I admired the playing throughout but it seems to me and I am sure it must be me not the orchestra and Mr Wilson but I was not moved or thrilled by the music just by the playing . The concert was also rather spoiled by Georgia Mann’s fawning which made Katie Derham seem restrained. It’s like Mr Wilson turns symphonies into concertos for orchestra .

I listened to LSO/Previn this morning - in a different league to my ears . Utterly gripping .

[smittims]

Oh dear. I'm sorry you didn't enjoy Wilson's Walton Symphony; I thought it a landmark performance. But then we all have our preferences. I've always found Walton's own recording rather dull. I listened to it again recently and, although he brings out the structure well, it's still a bit pedestrian.