Originally posted by kernelbogey
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Reference to the flute playing reminded me of another thing that struck me powerfully last night. As long as one is not in the acoustic 'Bermuda triangle' at the back of the stalls, what a fantastic place the RAH is for Bruckner. I've long thought it, and have made a point of going to most of the Bruckner proms in the last 15 years or so.
The acoustic lends a huge extra element to the experience. The silences seem to speak, the climaxes expand, the layers blend yet remain separate. And at the risk of getting too purple, two particular things I found tremendous last night.
First was the way staccato chords (especially in the scherzo) seemed to blossom in the air (likewise the timp strokes) - nothing flat or dry about them. The second thing was the effect of that terrifying discordant fff climax in the third movement: when Haitink cut off the chord abruptly, the discord seemed to roll through the air to the back of the hall like an evil spirit, a sort of banshee that was still hovering malevolently at the back of the hall when the soft strings came in... at which point the evil spirit vanished. It was like an exorcism.
Unforgettable stuff
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