Prom 18: Thursday 28th July at 7.00 p.m. (Beethoven, Dalbavie, Carter)

[Eine Alpensinfonie]

Presented by Suzy Klein

Renowned flautist Emmanuel Pahud joins the BBC National Orchestra of Wales and conductor Thierry Fischer for two major new concertos. Framing them are two of Beethoven's most inventive and joyous symphonies.

Carter's Flute Concerto is a dazzling creation. Written in 2008 at the age of 99, it contrasts the flute's lyrical qualities with a percussive orchestral texture. Dalbavie set out to write a homage to Debussy, and whilst his concerto is certainly rooted in the great French tradition, it's also full of fireworks and exploding excitement.

Beethoven: Symphony no. 1 in C major
Marc-André Dalbavie: Flute Concerto (London premiere)
Elliott Carter: Flute Concerto (UK premiere)
Beethoven: Symphony no. 7 in A major



Emmanuel Pahud (flute)
BBC National Orchestra of Wales
Thierry Fischer (conductor)

[Eine Alpensinfonie]

I'll be listening to Carter's Flute Concerto with interest. I was fascinated by his oboe concerto, performed at the Proms a couple of years ago. As an oboist, I felt a twinge of sympathy for the soloist who had to start on 4th-leger-line "A", which is a tone above the "official" highest note on the instrument.

[Eine Alpensinfonie]

Gone are the days when a soloist would only play a single concerto in a concert. It's becoming increasingly common for players to offer a second work. This may be OK for certain instruments, but I've played in concerts when trumpeters and oboists have performed two concertos, which must be quit hard-going.

[ahinton]

Presented by Suzy Klein

Renowned flautist Emmanuel Pahud joins the BBC National Orchestra of Wales and conductor Thierry Fischer for two major new concertos. Framing them are two of Beethoven's most inventive and joyous symphonies.

Carter's Flute Concerto is a dazzling creation. Written in 2008 at the age of 99, it contrasts the flute's lyrical qualities with a percussive orchestral texture. Dalbavie set out to write a homage to Debussy, and whilst his concerto is certainly rooted in the great French tradition, it's also full of fireworks and exploding excitement.

Beethoven: Symphony no. 1 in C major
Marc-André Dalbavie: Flute Concerto (London premiere)
Elliott Carter: Flute Concerto (UK premiere)
Beethoven: Symphony no. 7 in A major



Emmanuel Pahud (flute)
BBC National Orchestra of Wales
Thierry Fischer (conductor)

At the risk of appearing pedantic, "Written in 2008 at the age of 99" is hardly the best way to put this, since I've never encountered a concerto that could write itself at any age; "Written when its composer was aged 99" would haver been better. Still, it sounds to be a fine programme.

Two-concerto concerts are indeed becoming somewhat more familiar; I note, for example, that Peter Donohoe is to play both Ravel concertos one after the other in a concert in Bath...

[Dave2002]

Thierry Fischer is very good in Beethoven symphonies too, if I recall correctly. I'm looking forward to this one.

[Roehre]

At the risk of appearing pedantic, "Written in 2008 at the age of 99" is hardly the best way to put this, since I've never encountered a concerto that could write itself at any age; "Written when its composer was aged 99" would have been better. Still, it sounds to be a fine programme.

I'd have preferred "written as the composer reached the tender age of 99"

Definitely looking forward to the Carter as well as the Dalbavie concertos.

[Simon Biazeck]

Brilliant playing, especially in the Beethoven - such sweet thunder! This band is so good and I love Fischer's direction!

[EdgeleyRob]

Brilliant playing, especially in the Beethoven - such sweet thunder! This band is so good and I love Fischer's direction!

Agreed, the Beethoven symphonies were wonderful . The flute concertos were not my cup of tea ,though I did persevere and listen to them both!

[Roehre]

Excellent playing, and great interpretations too.
Beethoven 1 2nd mvt was a bit to fast for my taste. Fischer uses the "new" Del Mar edited scores (there are some nice "unheard" features in the scherzo). Love the crispy sounding timpani.

The Balvanie flute concerto is IMO really an excercise in orchestral colouring (and a bit of flying bumble bees at the beginning ). I was surprised by the non-Messiaen-sounding brass at the start of the slow section following the fast(er) opening: the temptation to use that colour there is certainly strongly present.

The Carter flute concerto was (for me a bit surprisingly) a more sparse score than the more recent conversations (broadcast in H&N recently), but certainly crisp and sparkling. Carter definitely hasn't lost his imagination - though it really is a concerto for flute and ensemble (Carter admits that writing scores is increasingly exhausting him, but who would blame him for that?)

Haven't listened to Beethoven 7.

[barber olly]

This was a real prom, two bastions of tradition Beethoven Symphonies conducted by a Beethoven enthusiast, and two new Flute Concertos, OK like them or leave them, but there they are two new works!
Just a little aside - I've never experienced Movts 1 and 2 of No 7 unbroken, previously, a sound move to stop any spurious applause!

[BudgieJane]

Gone are the days when a soloist would only play a single concerto in a concert. It's becoming increasingly common for players to offer a second work. This may be OK for certain instruments, but I've played in concerts when trumpeters and oboists have performed two concertos, which must be quit hard-going.

Since these two concertos together last just 31 minutes, according to the programme, and there's a 20-minute gap between them, I think playing the two of them should be no problem for an artist of the calibre of Emmanuel Pahud.

[jayne lee wilson]

Barber olly, there was no such attacca treatment of the later movements, making me wonder if Fischer wanted to make the tonal shock of the vivace end/allegretto beginning, A major/A minor, as stark as possible. After even greater tonal adventures in the presto, this sets up the battle to restore A major in the finale...

But yes, what a stunning concert! The acclaim at the end fully deserved, I was "out of my chair" long before that!
The Beethoven Symphonies had power, rhythmic precision, expressive warmth, wonderful string ensemble and wind solos...
gosh, they were good. (Not much, er, vibrato, though, was there...?)

Of the 2 flute concertos, I greatly preferred the Carter. This composer is solidly in the great, post-war modernist tradition, giving no ground to misconceived "accessibility" but still creating a compelling sonic phantasmagoria, through which the flute travels like a mischievous faun, dancing, dashing and dreaming his way through an enchanted forest.

What an output - the Symphonia, Variations for Orchestra, the brilliant Clarinet Concerto, the Quartets... i don't think he can write a dull note.

The Dalbavie was attractive, eventful and firmly if conventionally shaped, but seemed to me a little anonymous, its late 20th century sound world perhaps a little too generic. Enjoyable nonetheless with Pahud playing it. You get to know Pahud very well if you watch the Berlin Philharmonic Digital Concert Hall, a very engaging physical presence, or - dish of the day.

2011 Proms so far? Monsieur Wright, you are spoiling us!

This was a real prom, two bastions of tradition Beethoven Symphonies conducted by a Beethoven enthusiast, and two new Flute Concertos, OK like them or leave them, but there they are two new works!
Just a little aside - I've never experienced Movts 1 and 2 of No 7 unbroken, previously, a sound move to stop any spurious applause!

[Eine Alpensinfonie]

!
Just a little aside - I've never experienced Movts 1 and 2 of No 7 unbroken, previously, a sound move to stop any spurious applause!

Agreed. In the fantasy unrealiity of conducting a Prom myself, I would explore every possibility of finding ways of frustrating this tiny, but irritating minority.

[Eine Alpensinfonie]

Since these two concertos together last just 31 minutes, according to the programme, and there's a 20-minute gap between them, I think playing the two of them should be no problem for an artist of the calibre of Emmanuel Pahud.

Yss indeed. And it depends upon the instrument too. The flute requires a certain anount of stamina, but the embouchure is more easily maintained than on a reeded or brass instrument.

[3rd Viennese School]

This was a very good idea for a Prom. Listened to the Dalbavie flute concerto and some of the Carter (missed some of it-turned the radio off during the interval then put it on again).

The 2 flute concertos sounded quite contrasted- the Dalbavie one more mellow and orchestral colours like and the Carter sounded more stark and darker and aggressive at times. Were they both in one mvt? The www. Proms guide dosen’t seem to give as much information as it used to.

Enjoyed Beethoven 7- my favourite Beeethoven symphony-but no gap betwixt mvt 1 and 2! So that threw me a bit. Should be a small gap so you can appreciate the final blunt ending of mvt 1. (like Mahler 6!)
Still, good that the conductor observed all the repeats, the playing twice( not repeated) scherzo when it comes back a second time., Some other people would cheat you know.
And that bit from Handel’s Messiah that he nicked in the finale that’s often in my head for some reason. And I like the abrupt ending!