Prom 64 (31.8.12): Berlin Philharmonic – Brahms & Lutoslawski

[Eine Alpensinfonie]

Friday 31 August at 7.00 p.m.
Royal Albert Hall

Brahms: Piano Concerto No. 2 in B flat major (50 mins)
Lutoslawski: Symphony No. 3 (35 mins)

Yefim Bronfman piano
Berlin Philharmonic Orchestra
Sir Simon Rattle conductor

The Berliner Philharmoniker and Simon Rattle in their second Proms appearance perform music by Brahms and Lutoslawski.

The orchestra is joined by distinguished pianist Yefim Bronfman who is soloist in Brahms's mighty Second Piano Concerto, known for its technical difficulty, length and for the fact that the pianist has to share some of the limelight with the lead cellist who has a beautiful three-minute solo at the start of the slow movement. Lutoslawski's Third Symphony was completed in the early 1980s during a troubled period in the composer's native Poland, it combines experimental techniques with craftsmanship, conviction and lyricism.

[Eine Alpensinfonie]

This is brilliant programming. Sir Simon knows he'll get a capacity audience, so he gives us something a little bit more challenging, without throwing the baby out with the bath water (as Boulez did).

[jayne lee wilson]

Staggering Lutoslawski 3 wasn't it? Never heard it better done, doubt whether I ever will again!

I tend to blow hot-and-cold with later Lutoslawski (3 and 4), preferring him in more icon-shattering, off the-leash-mode in works like the Cello Concerto, Livre, or Symphony No.2 - or the freely-associating fantasies of the orchestral songs. But tonight, Rattle drew the threads and fragments together into a cogent drama, creating some astounding sonorities as the structure evolved, dissolved, emerged again. For me, he lent a new stature to the piece. I'm now impatient to return to it, but after this I fear for the comparison with other readings.

If you like your Brahms rich, dark and deep, this 2nd Piano Concerto was, orchestrally, Lindt 85% cocoa! I was a little disquieted by an occasional lack of unanimity within the orchestra and between soloist and accompaniment too - but the performance had a fine thrust, urgency and impact, intensely lyrical in the second subject of (i) and the andante.

Excellent concert, and unspoiled by over-familiarity (I was disappointed at the inclusion of the 2nd Daphnis Suite last night). I could carp at the inappropriately rowdy choice of encore - it seemed intrusive after the Lutoslawski, but let's not spoil the moment.

(Heard on HD AAC Hi).

[Nick Armstrong]

the inappropriately rowdy choice of encore

What was it?

[Tapiola]

Staggering Lutoslawski 3 wasn't it? Never heard it better done...

I tend to blow hot-and-cold with later Lutoslawski (3 and 4), preferring him in more icon-shattering, off the-leash-mode in works like the Cello Concerto, Livre, or Symphony No.2 - or the freely-associating fantasies of the orchestral songs.

Couldn't agree more, Jayne. My thoughts exactly (my mini-rant concerning last night's Rattle notwithstanding). The 2nd Symphony is criminally underplayed (imo). I think it's Luto's best.

I didn't catch the Brahms, unfortunately - one of my favourite piano concertos.

EDIT: I should add, more explicitly, that I thought the Luto 3 tonight was brilliant.

[Tapiola]

What was it?

Caliban (how are you by the way!)

I think Andrew McGregor said it was the Dvorak Slavonic Dance , op 72 no 7. At least he thought it was that one.

[Nick Armstrong]

Caliban (how are you by the way!)

I think Andrew McGregor said it was the Dvorak Slavonic Dance , op 72 no 7. At least he thought it was that one.

I have just saluted you on the 'Elgar's beard' thread!

Well! And sober! And you, Mr T?

Ta for the info

[edashtav]

Couldn't agree more, Jayne. My thoughts exactly (my mini-rant concerning last night's Rattle notwithstanding). The 2nd Symphony is criminally underplayed (imo). I think it's Luto's best.
...

EDIT: I should add, more explicitly, that I thought the Luto 3 tonight was brilliant.

Yes, I thought the Lutoslawski was brilliant, too. Its mixture, or tension between, extreme rhythmic control and cleverly written aleatoric passages suits Rattle very well and it was evident that he felt this to be one of the great symphonic statements of the 20th century. Of course, it's all the more remarkable as a work because it has an underlying feeling of one movement symphonic form with a clear trajectory from beginning to end that is, for once, devoid of any remnants of tonal underwiring. A memorable performance that is in my top 5 for this Prom season that has seen some remarkably fine performances, already.

[amac4165]

Staggering Lutoslawski 3 wasn't it? Never heard it better done, doubt whether I ever will again!

I think they made a huge case for the symphony ! Overall a much more satisfying concert than last night !

[fugophile]

I was in the Arena and it was a fabulous concert: Bronfman's articulation was impeccable (I would have loved to hear him play Bach, but alas he did not provide an encore) even in the fast and virtuosic passages, he had a good balance with the orchestra (what excellent rapport with the 'cello soloist in 3rd movement), although I think he could have played with slightly less restraint in the 2nd movement, of which the effect was sadly compromised the extreme length of the pause after the end of the 1st movement, caused by the utterly philistine front-of-house decision to admit latecomers at that point (from what I could see of him, it appeared to have irritated Bronfman as well), despite the fact that nobody in the audience had had the poor taste to applaud between the movements! I was hearing Lutoslawski 3rd Symphony for the first time, and I was particularly impressed at how the imaginative range of timbres and registers functioned so effectively, both superficially and at a more structually significant level. The fluency and momentum of the performance was stunning, and must have required a lot of rehearsal. Of course, there are those who argue that the Dvorak encore was too bombastic in the aftermath of the sublimity of the Lutoslawski (a reservation that Sir Simon Rattle expressed, saying that they normally did not play anything after the Lutoslawski), but it was still enjoyable, and in my view preferable to no encore.

[Nick Armstrong]

Hello fugo Always good to read a new poster's view, especially interesting observations like those! Welcome aboard (or rather, aforum).

I just want to echo your remarks about the admission of latecomers. I was at the Wednesday Howells/Elgar Prom, and after the first couple of movements of the Howells (the concert having begun at 7pm) a positive stampede of latecomers was allowed by the RAH staff. A number were still finding their seats, obliging audience members to stand etc, and causing noise (why do women's shoes seem to make much louder 'clump clump clump' noises nowadays? Do they make the heels hollow? ) and distraction, when the next movement was well underway....

Not good, I agree.

[Tapiola]

I have just saluted you on the 'Elgar's beard' thread!

Well! And sober! And you, Mr T?

Ta for the info

Caliban,

I am very well, thank you, and currently as sober as a judge. Which judge, though, is the question.

I hope to revisit the most promising facial hair thread in the very near future.

[VodkaDilc]

I am still trying to decide why I did not enjoy this Prom as much as the others I've attended this year. Possibly a less than ideal seat, resulting in a somewhat distant piano sound; possibly the disturbances caused by latecomers and, even more, photographers, ( I saw an attendant ask someone to stop in the early part of the concert, but then they seemed to give up. I saw a person in the second or third row of the Arena, viola/cello side, who must have taken a dozen or more. Without being sexist/racist, were most of the photographers of the same sex and nationality?)

Continuing reasons for lack of enjoyment: drinks in the auditorium. When did this become acceptable? Is it just Proms or just the RAH which allows drinks - or is it now common? Like all teachers, I have had almost 40 years of making a cup of coffee last through a 2 hour staff meeting, but the lady next to me had a drink lasting throughout each half which she sipped regularly, giving me nasty fumes of cheap plonk! To me this is as bad as sitting next to a smoker.

Additionally perhaps I knew the Brahms too well and the Lutoslawski too little.

Two questions for those who know:

Is that string layout - violas on extreme right, rather than cellos or second violins - the regular one for this orchestra?

Is the delightful business of the players hugging at the end as a signal that "that's it - no more encores" - another of their habits?

One last point: I was not surprised to be surrounded by Welsh voices in the Bernstein Prom, but I did not expect so many German speakers in the audience for this one. I wonder if they follow the orchestra or whether they are resident here.

[jayne lee wilson]

Caliban -

The din from women's shoes is down to metal tips on stillettoes. Some younger women enjoy the attention thus drawn, and some men enjoy the allegedly alluring sound created. As one who wears heels a lot, I try to ensure mine have the quieter plastic type on them when repaired. They do wear out a lot faster though...

Vodka -

Even in the Grand Circle at the RLPO I see more people - including older subscribers - swigging at water bottles during the music. This doesn't distract me much given the steeply raked seats, but really...

[VodkaDilc]

Caliban -

The din from women's shoes is down to metal tips on stillettoes. Some younger women enjoy the attention thus drawn, and some men enjoy the allegedly alluring sound created. As one who wears heels a lot, I try to ensure mine have the quieter plastic type on them when repaired. They do wear out a lot faster though...

Vodka -

Even in the Grand Circle at the RLPO I see more people - including older subscribers - swigging at water bottles during the music. This doesn't distract me much given the steeply raked seats, but really...

Water bottles seem to get everywhere and can be partly justified on health grounds, but are glasses of wine necessary?