A real treat to hear the orchestra play without that often crippling exhibitionism of the Rattle years.
Prom 55: R. Schumann / Smetana, Berlin Philharmonic, Ólafsson / K. Petrenko
Collapse
X
-
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.
Comment
-
-
Originally posted by Prommer View PostI 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.
( 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!)Last edited by edashtav; 31-08-24, 22:42.
Comment
-
-
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.
Comment
-
-
Originally posted by edashtav View Post
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!)
Comment
-
-
Originally posted by Ein Heldenleben View Post
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.
: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:
Comment
-
-
Originally posted by Ein Heldenleben View Post
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 ."...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
Comment
-
Comment