Prom 15: Tuesday 26th July at 7.30 p.m. (LPO Jurowsky)

[Eine Alpensinfonie]

Presented by Rob Cowan

The dynamic Vladimir Jurowksi conducts the London Philharmonic in an all-Hungarian programme, including a rare performance of the Goethe-inspired Faust Symphony by Franz Liszt, one of this year's featured composers. The multi award winning pianist, Jean-Efflam Bavouzet, plays one of the most technically challenging of all piano concertos, and the programme opens with Kodaly's effervescent dances.

After declaring for years that: 'Anything to do with Goethe is dangerous to handle,' Liszt finally found inspiration for his 'three character portraits' after a visit from the novelist, George Eliot. The symphony concludes with a grandiose setting of the 'Chorus mysticus' unheard at the Proms since 1967.

Kodaly: Dances of Galanta
Bartok: Piano Concerto No.1
Liszt: A Faust Symphony

Jean-Efflam Bavouzet (piano)
Marco Jentzsch (tenor)
London Philharmonic Choir (men's voices)
London Symphony Chorus (men's voices)
London Philharmonic Orchestra
Vladimir Jurowski (conductor)

[Ventilhorn]

Tuesday 26th July LPO/Jurowsky

Wow! What a performance.

My only previous acquaintance with Liszt's "Faust" symphony was my 1955 recording by Sir Thomas Beecham, with the tenor Alexander Young, The Royal Philharmonic orchestra and Royal Philharmonic men's chorus. That was one of the very first Stereo recordings issued by EMI. So nice to hear it again. Not a remarkable work, but very well performed under Maestro Jurowsky's direction.

Bartok's 1st piano concerto does not really invite my attention - I prefer the 3rd (whoever finished it for him) so I can only say that it was well played but, for me, lacking in interest.

The Highlight of last night's concert was the thrilling performance of Kodaly's Galanta Dances.

I have never heard a better or more electrifying performance than this; made special for me by the incredible solo playing of clarinetist Nicholas Carpenter, son of my oldest and dearest friend Raymund Carpenter; the last surviving member of Silvestri's famous woodwind quartet with the Bournemouth Symphony Orchestra.

Listening to Nick, I felt Ray's influence in his musicianship and panache and I'm sure that Ray, now in his 90th year, would have been bursting with pride. I shall ask him when next we talk.

Do listen to the replay if you can. After this performance, the LPO and Jurowsky have now moved to the top of my most favourite orchestras list.

VH

[salymap]

Good Morning VH.It was certainly a fine performance of the Kodaly, equalling my CD by the Budapest Festival Orchestra under Ivan Fischer.

I don't remember the 1st Bartok PC with all that percussion at the start. As you say, the 2nd and 3rd were more often played in the past. I've yet to listen to the Liszt Faust symphony but I will later I hope.

Best wishes

[rauschwerk]

I heard only the Bartok, and that on my kitchen radio, but I must say that it gripped my attention throughout! The finale seemed so fast that I leapt for score and metronome, but Bavouzet was very close to the mark. Bartok's metronome markings always amuse me since he gives very narrow limits of tolerance (one would almost think he trained as an engineer) such as minim 92-88. Plus or minus 2.2 percent - how many mechanical metronomes are that accurate?

Those rude trombone notes at the opening are extraordinary, and I see that the composer asks for their lowest possible (pedal) notes combined with the mute.

[Ferretfancy]

rauschwerk,

They obviously took care to follow Bartok's requirements last night. At the front left of the platform we had tam tam, bass drum, cymbals, suspended cymbal, side drum and tenor drum. while on the opposite side we had the timps. This made a thrilling balance with the piano, allowing Bavouzet to synchronise his playing with the percussion.
I thought it was a superb performance, and so did my friends in the Arena who had not heard it before.
The Faust Symphony performance could hardly have been bettered, although it is a very prolix work. There are some great ideas rather done to death, but not all will agree, I know.
The Galanta Dances were certainly exciting, Jurowski rushed the last dance a little, I thought, but the orchestra were on their best form all evening, he's a riveting conductor.

[mercia]

Bartok's metronome markings

I expect you heard Rob Cowan say that he asked Bavouzet something to the effect "if the metronome marking said one thing and your intuition said another, what would you do?" to which B replied to the effect " I would not play it at all"

isn't that rather restrictive? are metronome markings sacrosanct? what if there are no markings?

an amusing thought in the programme notes - Bartok attributed the invention of cluster chords to Henry Cowell whereas most three-year-olds discover them for themselves on opening the piano lid

[rauschwerk]

I expect you heard Rob Cowan say that he asked Bavouzet something to the effect "if the metronome marking said one thing and your intuition said another, what would you do?" to which B replied to the effect " I would not play it at all"

isn't that rather restrictive? are metronome markings sacrosanct? what if there are no markings?

It wasn't clear to me whether M. Bavouzet was referring purely to Bartok's music in this context. If he was, then I join Rob Cowan in admiring his integrity.

[Rasluap]

LPO Jurowski Prom

This was an outstanding evening: the LPO under Jurowski rarely disappoint and this was as good as I have heard them together.

Pity that the programme did not attract a larger audience: patches of empty seats visible in the stalls and higher up. With the podium moved back to its normal position for the Liszt, every stamp made by Jurowski during the symphony sent a shudder through the floor of the arena in the immediate area. He is fascinating to watch, but someone should tell him that his trousers need shortening.

In retrospect, this concert will prove to have been one of the highlights of the season for both imaginative programming and quality of performance.

[mercia]

someone should tell him that his trousers need shortening.

I wouldn't dare

[Ferretfancy]

Nice legs -- shorts perhaps ?

[HighlandDougie]

I'm not sure if that comment counts as politically correct or not but what a good concert. The Kodaly as good as my favourite, Ferenc Fricsay, and I thought that the Bartok was excellent - it didn't sound as dour and hard-driven as can sometimes be the case with virtuosic pianists out to show off but who have no feeling for the soul of the music. And I am now looking forward even more to hearing Jurowski again in the Liszt at the Edinburgh Festival - this time with the OAE so the comparison should be instructive.

[jayne lee wilson]

Yes, a great evening - once again showing the musical and emotional effects of good engineering, and the 320kbps AAC stream. I didn't need anyone to tell me where Bartok's percussion were, it was vividly and thrillingly obvious, nearly as fine as FM at its best long ago. I don't think I've heard a better Bartok 1, having got to know the work from the Anda/Fricsay set, and latterly enjoying Ashkenazy/Solti, Boulez/Zimmerman, and, perhaps my personal favourite, Boulez/Barenboim (best heard on Toshiba-Emi). The first does need expressive flexibility as well as driving percussive power and this is what it got.

With the Faust Symphony, not knowing the piece well (hands up all those who do..?) I found the music tightened its grip on me more as it went on. Perhaps it is only "prolix" if you listen to it on, as it were, sonata-principle terms? Feeling a little daunted at the prospect of a 30-minute first movement, I found myself slowly drawn in to its portrait of philosophical restlessness and melancholy. A very human portrait!

I've just downloaded the Noseda, which uses the purely orchestral version. Look forward to trying that later.
A rather little-known reading on my shelves was made in Paris in 1955 with Ataulfo Argenta in very fine early stereo.

[Chris Newman]

The LPO really do sound fabulous under Jurowski. Like Ventilhorn I have the Beecham Faust Symphony which I mainly like for my favourite British tenor, Alexander Young. I also have a Vox version conducted by Jascha Horenstein with the SW German Radio Orchestra and tenor Ferdinand Koch: reading reviews it is regarded as one of JH's greatest recordings though I am afraid Liszt does not get me shaking though Horenstein's coupling a superb Bruckner Eighth (Vienna Pro Musica) really lifts the spirits like few other perfromances. There is also Wagner's Faust Overture.

[makropulos]

With the Faust Symphony, not knowing the piece well (hands up all those who do..?) I found the music tightened its grip on me more as it went on. Perhaps it is only "prolix" if you listen to it on, as it were, sonata-principle terms? Feeling a little daunted at the prospect of a 30-minute first movement, I found myself slowly drawn in to its portrait of philosophical restlessness and melancholy. A very human portrait!

Agreed ! I've known and loved the "Faust Symphony" for decades (so I suppose that means I put my hand up ) and this was one of the most coherent and expressive performances I've ever heard of it, along with Bernstein in Boston. Jurowski really is a stunningly impressive conductor these days. I found it a most moving and involving performance and the whole concert (great programme) was a big success. Great to hear the LPO playing so well these days.

[Tevot]

Just listened to the whole concert on i-player and I agree with the rave reviews. This is the first time I've heard the Faust symphony - and again thanks BBC and the Proms for getting these truly essential classics aired and performed. The Kodaly and Bartok also very impressive imho adding up to a satisfying concert. Bravo the LPO and Maestro Jurowski. (Whatever tickles their collective fancy!)

http://www.guardian.co.uk/music/2011/jul/27/prom-15-review

http://www.telegraph.co.uk/culture/music/proms/8665943/BBC-Proms-2011-Prom-15-LPO-Vladimir-Jurowski-Albert-Hall-review.html

Best Wishes,

Tevot