Prom 55: R. Schumann / Smetana, Berlin Philharmonic, Ólafsson / K. Petrenko

[Alison]

A real treat to hear the orchestra play without that often crippling exhibitionism of the Rattle years.

[Prommer]

Goodness, the detail there... wonderful to hear.

[Prommer]

I think I have worked out why Petrenko is such a (quiet) star... it's all so beautifully thought through, in terms of tempi and balances: the traditional BPO power, with rhythmic vitality, but also a newer suppleness and colour. A great amalgam of the classical and the romantic ideals. Brilliantly displayed so far in Ma Vlast.

[Ein Heldenleben]

A real treat to hear the orchestra play without that often crippling exhibitionism of the Rattle years.

Well if they wanted to show off.. lost count of the moments I’ve thought that bit was good ..

[Ein Heldenleben]

That oboe playing - I’ll hear that again in heaven (maybe)

What a superb performance…if the Bruckner is that intense I’m going to need a lie down afterwards.

[edashtav]

I think I have worked out why Petrenko is such a (quiet) star... it's all so beautifully thought through, in terms of tempi and balances: the traditional BPO power, with rhythmic vitality, but also a newer suppleness and colour. A great amalgam of the classical and the romantic ideals. Brilliantly displayed so far in Ma Vlast.

Petrenko has found the Philosopher's stone. Ma Vlast, IMHO is not pure gold: there's much to treasure but also dross which Petrenko shaped, varied and ensured was played exquisitely. I was gripped and thrilled: music-making in real time of the highest quality. I was gripped from start to finish.

( A friend has dipped into the BPO on-line Concert Hall to hear Petrenko tackle Bruckner's 5th. Things are going to get (even) better!)

[edashtav]

Oh what a fabulous, old school programme...a treat.

[edashtav]

A real treat to hear the orchestra play without that often crippling exhibitionism of the Rattle years.

[edashtav]

Goodness, the detail there... wonderful to hear.

[Ein Heldenleben]

Steady on Ed that’s three pints in as many minutes

[edashtav]

Steady on Ed that’s three pints in as many minutes

Here's a.response from a drunk:
The slogan "DRINKA PINT OF MILKA DAY" was coined by a fellow Buckingham man, Bert Whitehead.

[edashtav]

It's been Czech week; all hits without a miss.

Vítězslava Kaprálová's Military Sinfonietta was as energetic as a Supernova.
(Czech her out; V.K. was the first woman conductor of the BBC orchestra)

Dvorak's piano concerto was made fresh and alive
despite that in years past, folk were glad when it was all over.
(Mao will play it again; go to BBC SOUNDS)

A Glagolitic Mass was, listeners thought, great and granitic.
(Janáček it on BBC SOUNDS)

Ma Vlast ebbed and flowed
As Kirill's refiner's fire turned 'bass' metal to gold.
(Czech it out on BBC SOUNDS)

Czech it all out on BBC SOUNDS.

[Ein Heldenleben]

Petrenko has found the Philosopher's stone. Ma Vlast, IMHO is not pure gold: there's much to treasure but also dross which Petrenko shaped, varied and ensured was played exquisitely. I was gripped and thrilled: music-making in real time of the highest quality. I was gripped from start to finish.

( A friend has dipped into the BPO on-line Concert Hall to hear Petrenko tackle Bruckner's 5th. Things are going to get (even) better!)

Hmm I’m not sure the “dross” in Ma Vlast isn’t as much of a myth as the Philosopher’s stone. Yes there’s repetition but the building blocks are high quality. I don’t think I’ve ever heard a better live performance.

[edashtav]

Hmm I’m not sure the “dross” in Ma Vlast isn’t as much of a myth as the Philosopher’s stone. Yes there’s repetition but the building blocks are high quality. I don’t think I’ve ever heard a better live performance.

I want to put my comments in an historical context.
:Somewhat unexpectedly fine and moving is an experience in immediate succession of the complete cycle of Smetana's symphonic poems, Ma Vlast (My Country) on Decca LXT 5474-5 (stereo also, but I have not the instrument). All six are often played In sequence in Czechoslovakia. But in England we seem well content with very frequent performances of No. 2 (Vltava or The Moldau) and occasional ones of Nos. I (Vyšehrad Upper Castle, Prague) and 4 (From Bohemia's Meadows/Fields and Forests/Woods) ; which is apparently the case in all countries but Smetana's own. No doubt our alien choice is sound enough: and yet Rafael Kubelik's passionately authoritative interpretation. the superb playing of the Vienna Philharmonic and Decca's very finest recording, reveal that the whole cycle. with its various inter-relationships and striking contrasts, is something considerably bigger than the sum of its parts.

John Waterhouse hailing the Rafael Kubelik / VPO Decca LPs in September ,1959.

I'm older than you, E.H. and when JW wrote his piece vanishing few English folk had heard all six symphonic poems that comprise Ma Vlast. I had heard Vltava x2 and From Bohemia's...x1 and not one of the other 4 despite being an avid concertomane.

After 70 years since they were premiered, folk and conductors in many countries had created two leagues each of three pieces with Vltava the eternal winner of the Premier league.

There is not a redundant bar nor a dull tune in the best of Ma Vlast.

That is not true of the 3 losers which suffer from poor material, redundancy and bombast
Kubelik, Talich Ancerl and now Petrenko share the abilities to cherish every moment of all six scores and to obscure the work's enduring weaknesses.:irony3:

[Nick Armstrong]

He said it should it really be played on the organ and then , somehow , produced a weight of sound that matched any organ I’ve heard . Absolutely tremendous playing .

My thoughts exactly