Prom 65: Saturday 3rd September at 7.00 p.m. (Elgar, Berkeley, Rachmaninov, Kodaly)

[Eine Alpensinfonie]

The BBC National Orchestra of Wales and Principal Guest Conductor Jac van Steen bring two dazzling concertos to the Proms. Canadian pianist Marc-André Hamelin displays his virtuosity in Rachmaninov's ever popular Rhapsody, and Proms featured organist David Goode plays Michael Berkeley's demanding concerto, which receives its London premiere. The programme includes two musical pictures: Elgar's Edwardian soundscape of Old London Town, and Kodály's suite Háry János, which brings to life the unlikely exploits of an old Hungarian hero.

Michael Berkeley had the cavernous space of Westminster cathedral in mind with his organ concerto, he was a choirboy there. A central theme is of fire, a force that cleanses and obliterates all in its path. The Royal Albert Hall, with its immense Henry Willis organ and generous acoustic should prove an ideal venue. A sense of ritual and religious theatre also comes from offstage trumpets, high in the gallery. Soloist David Goode has already delighted promenaders twice this season, in Janacek's Glagolitic Mass and Havergal Brian's Gothic Symphony. An exceptional talent, he remains undaunted by the challenges of the concerto.

Marc-André Hamelin has won great critical acclaim for his "jaw dropping technique" and "probing musicianship". He's been a tireless advocate of less familiar concertos, and he also is a composer. Here he brings his formidable talents to bear on a great favourite of the piano repertoire. Rachmaninov's Rhapsody is one of the most brilliant works for piano and orchestra, though with an underlying sense of devilry.

Elgar: Overture Cockaigne (In London Town)
Michael Berkeley: Organ Concerto (London premiere)
Rachmaninov: Rhapsody on a theme of Paganini
Kodály: Háry János - suite

Marc-André Hamelin (piano)
David Goode (organ)
BBC National Orchestra of Wales
Jac van Steen (conductor)

[salymap]

NOTE 7PM START.

On the face of it an oddish mixture but several works I like and always good to hear the old RAH organ.

[Ventilhorn]

NOTE 7PM START.

On the face of it an oddish mixture but several works I like and always good to hear the old RAH organ.

Thanks for the tip, Salymap, but I'm afraid it's going to be the dreaded iPlayer for this one.

VH

[salymap]

Well I said it's always good to hear the RAH organ but I'm not sure about tonight. I shall endeavour to listen again though.

[Petrushka]

This turned out to be a much better Prom than I'd expected and the Freeview sound this evening was of excellent quality, really superb. Full marks to the engineers.

Full marks, also, to the BBCNOW and Jac van Steen for a very well played and entertaining programme.

[Chris Newman]

Jac van Steen always brings out the best in the BBCNOW. Great Rachmaninov and Berkeley. Must catch up with the Elgar and Kodaly.

[Simon B]

Better than I expected too - in terms of a slightly mixed-bag programme. I may be in a bit of a minority in quite enjoying the organ concerto. It wasn't massively overlong for its material, and there were some interesting ideas. Oh, alright, I just like the racket the RAH organ makes - though it wasn't opened up that much.

The percussion section seemed to enjoy themselves as much as I did in the Kodaly, including a good mate of mine who had the last word as usual ;-)

I wish the house lights were always dropped as low as tonight (much darker than normal, more as I remember it years ago). It helps to focus everyone's attention where it should be. On the stage.

[Simon B]

On the broadcast sound quality (which for obvious reasons I didn't hear) the orchestral layout tonight was again, trumpets (6) and trombones/tuba in a row high up, timps in front of Sir Henry, percussion high up left, horns in a row, woodwind raised up, basses on right. Essentially identical to the Philharmonia and RPO. The clarity heard on the broadcasts matches what I've heard in the hall. This layout just works better (but makes ensemble harder). It's probably better for the players' hearing too, as there is lots of space between the heavies and everyone else. Meanwhile, densely packed "continental" layout = muffled IMO.

[BudgieJane]

I wish the house lights were always dropped as low as tonight (much darker than normal, more as I remember it years ago). It helps to focus everyone's attention where it should be. On the stage.

It makes it difficult to read the score when the lights are as low as they were today. I was alright, I was on the rail and we had plenty of light. But others elsewhere would have had trouble.

[Serial_Apologist]

At first I thought "Hary Janos" was being taken far too slow, being used to faster performances of the slow movements, but in the end enjoyed the milking of the emotions in the piece thus paced - my first ever introduction to "modern" music through the Ferenc Fricsay on DGM - the sound quality of which now sounds awful ,even by LP standards of the mid-50s.

I am in a minority of two if this proves the case with the Berkeley, Simon B; the composer has referred to Lutoslawsky influences in the piece, but I wonder how many were struck by similarities between the work's opening and Ligeti's "Melodien"? The warmly emergent tonality at the end of an otherwise largely atonal piece worked for me too, corn though it was verging on.

S-A

[Chris Newman]

I am in a minority of two if this proves the case with the Berkeley, Simon B; the composer has referred to Lutoslawsky influences in the piece, but I wonder how many were struck by similarities between the work's opening and Ligeti's "Melodien"? The warmly emergent tonality at the end of an otherwise largely atonal piece worked for me too, corn though it was verging on.

S-A

I enjoy a bit of sweet corn now and again.

[Serial_Apologist]

I enjoy a bit of sweet corn now and again.

Er..... me too!

[Roehre]

I am in a minority of two if this proves the case with the Berkeley, Simon B; the composer has referred to Lutoslawsky influences in the piece, but I wonder how many were struck by similarities between the work's opening and Ligeti's "Melodien"? The warmly emergent tonality at the end of an otherwise largely atonal piece worked for me too, corn though it was verging on.

That warmly emergent tonality works (for me) like a quasi-Bruckner quote btw
But I think you're right S_A by mentioning Ligeti here. It was something which crossed my mind as well.

[Serial_Apologist]

That warmly emergent tonality works (for me) like a quasi-Bruckner quote btw
But I think you're right S_A by mentioning Ligeti here. It was something which crossed my mind as well.

If so, Roehr, then Bruckner sounds much better, to me, when taken out of context!

[Roehre]

If so, Roehr, then Bruckner sounds much better, to me, when taken out of context!

You might be right S_A