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

[Pulcinella]

My thoughts exactly

A shame it's not on the Angela Hewitt CD of Bach arrangements that I have.
I'm not part of Olafsson's fan club (didn't warm to his Goldbergs) but yes, that encore was mightily impressive.

[silvestrione]

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

The what? I can't let that pass without saying I think it grossly unfair...if it was relevant to the thread, I'd ask for examples.

Not that I don't agree (as Rattle himself does) that Petrenko is doing better with them.

[Petrushka]

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 .

I couldn't hear the announcement of the encore from the stage so had no idea what it was or, indeed the composer.

I guessed it was Bach quite quickly and because the piano oddly sounded like an organ (how did he do that? I thought) I also guessed it was a transcription of an organ piece. Amazing playing!

[Ein Heldenleben]

I couldn't hear the announcement of the encore from the stage so had no idea what it was or, indeed the composer.

I guessed it was Bach quite quickly and because the piano oddly sounded like an organ (how did he do that? I thought) I also guessed it was a transcription of an organ piece. Amazing playing!

From a review
“For an encore Ólafsson played Bach transcribed, a Sonata slow movement for organ (from BWV528) “

[Pulcinella]

Five stars from Richard Morrison in The Times:

https://www.thetimes.com/article/0d64415d-9784-4b65-8124-83f7775bef70?shareToken=5cb409b7998b99a8198d213318271ff7

[jonfan]

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

Petrenko couldn’t do what he does with the BPO if it wasn’t for Rattle bringing them into the latter part of the 20th century able to play anything in the orchestral repertoire. Plus the community work.

[Retune]

I thought Ólafsson was excellent in this - superb articulation in the Schumann, but that encore was arguably the real highlight. There was much to enjoy in Ma Vlast, though it's almost a shame that Vltava, by far the most inspired piece in the set, comes early on. As the pieces were apparently conceived separately, would it be sacrilege to suggest that that a different sequence, with Vltava closer to (or even at) the end, might work better? Great playing, though, so much so that I was kicking myself for not booking a seat for Sunday and ended up getting a place in the Gallery for the Bruckner.

[bluestateprommer]

My one quibble with the Smetana was KP's decision to start 'Vltava' immediately after 'Vyšehrad', essentially attacca, without sufficient pause, whereas KP left enough time after 'Šárka' and 'From Bohemia's Woods and Fields' for the music to sink in. Perhaps KP's idea was to mirror the attacca plan of the last two movements, 'Tábor' and 'Blaník', in the first two. Didn't work for me, even if it was just one tiny moment. I found VO's performance of the Schumann a fine one, not necessarily the greatest ever, but I didn't find any waywardness that others sensed.

But to repeat from the other thread, lucky audiences who got to experience this Prom in person. To add to the reviews collection, a 5-star Grauniad review for both Berlin Philharmonic Proms:

https://www.theguardian.com/music/article/2024/sep/02/proms-55-and-56-berlin-philharmonic-petrenko-review-royal-albert-hall-london

PS: For Retune, I think that you meant to say "Schumann".

[Retune]

PS: For Retune, I think that you meant to say "Schumann".

'Problem exists between keyboard and chair'.

Thanks, fixed now!

[Barbirollians]

Trying to catch up on as many Proms as possible before they disappear next Monday from BBC Sounds.

I enjoyed the Schumann. I understand entirely why some have describe it as splashy and the finale was too quick for me. Any of Annie Fischer's recordings will explain why it works better played at a less frantic tempo .Olafsson's playing , however, was mercurial and fascinating and I enjoyed the performance even if it did not fit with my ideal.

Heard the Smetana this morning . It was a splendidly played streamlined performance but there was something Czech missing about it - intangible but noticeable when I put on Kubelik's live Czech spring version of Moldau straight afterwards.