Prom 8 - 17.07.13: Britten, Lutosławski & Thomas Adès

[Barbirollians]

Ades is a mate of Philip Hensher. They don't like Britten - remember that Guardian article by Hensher a few months ago? Perhaps it was Ades's aim to make the Britten piece sound as bad as possible. I switched off after a short time, so I don't know what it was like eventually - anyway, I was only listening on the radio, a second-hand experience.

I'll listen to the Ades piece eventually. I suspect he's over-hyped, but it's hard to tell so soon whether a composer is a 'great' (silly term, I know) or not. It's a pity that I shan't be around in fifty years to see if his music has survived.

Ades was director of the Aldeburgh Festival for a number of years .

I was aware he was not keen on the operas but what evidence is there that he disliked Britten as a whole . In his book of conversations with Tom Service he is recorded as saying he liked some works but not others - loving Our Hunting Fathers, Missa Brevis and the Violin Concerto for example but not liking his operas.

[Mary Chambers]

Ades was director of the Aldeburgh Festival for a number of years ? What is the evidence he does not like Britten ?

He has said so, I think, and Pierre-Laurent Aimard, the current director of the festival, isn't keen either. The Aldeburgh Festival has never been only, or even principally, Britten. It's always encouraged new music.

[Barbirollians]

He has said so, I think, and Pierre-Laurent Aimard, the current director of the festival, isn't keen either. The Aldeburgh Festival has never been only, or even principally, Britten. It's always encouraged new music.

Judging by how wonderful Peter Grimes on the beach was - then let's keep these festival directors who steer clear of Britten and let others get on with it !

[jayne lee wilson]

What a stout and well considered defence, Jayne Lee Wilson and I do hope that you're proved right. The proof of the pudding will be shown by the composer's subsequent progress - has his backward looking obsession been put to rest and does a questing 21st century spirit infuse his soul?
I shall be fascinated to watch and listen.

But... thanks (as always) for making me stop and think,- although I must admit that I remain concerned that Ades has turned a Walton style corner and that he will spend a complacent middle age in a "gated" community, hidden behind a notice that proclaims "No 21st century Mods and Rockers".

A very generous-spirited response Ed. Which is just what we, and new music, need! Thankyou.

Jacques - your mention of 7th Seal is very insightful & poetically apt! The film has a similar atmosphere to the Lubeck Totentanz itself...
"Only connect", etc...

[jayne lee wilson]

What's striking on repeated hearings of Totenanz is how any thoughts of allusion or reference seem less and less important as the shape and development of the piece become clearer: first, the sheer relentless repetition of rhythm and motif, obsessively screwing up the tension until the huge climactic release after the deaths of Doctor, Usurer and Merchant (those three REALLY get it in the neck); after which the orchestral colours soften and darken through the demise of worker, peasant, maiden and babe - Death is kinder to those.
But there is one quote or echo that really tells - the ghosts of Mahler's children in the babe's music. Then, that incredible ending, almost negating the tenderness. It's a piece, like David Matthews' Vision of The Sea, that is really all about its ending (about all they have in common!).

"Man that is born of woman hath but a short time to live, and is full of misery..."

...well, you have just a short time left to hear Totentanz again. But it shouldn't make you miserable.

[Serial_Apologist]

Seems it must be too late for an iplayer of this particular Prom, but it can be watched on BBC4 this coming Sunday at 7.30 pm

Edit: It's still available on

http://www.bbc.co.uk/radio/player/b036vvk6

for 6 more days.

[aka Calum Da Jazbo]

thnks to all for the highly informative postings above .... caught the Lutoslawski and Ades on BBC4 last night ... the Cello Concerto was stunning in its composition, and alas made me wonder why Braxton is taken quote so seriously as a composer, can his work stand comparison to such as this ... i think not ... in any case a stunning performance and had me rapt

the Ades overcame my initial cynicism, by the end i was a convert to the piece ... i have heard little of his earlier works, on the whole would prefer not to have to listen to singers etc ... but found this a convincingly coherent musical essay on death

[Mary Chambers]

I thought the Ades had a lot going for it, and the performance was superb, but I do hate to see singers wearing microphones. It shouldn't be necessary with the right sort of orchestration, but I assume Ades is well aware of this and chose to amplify the singers for the sake of his concept of the piece as a whole. I'm still not happy with it, though.

(PS He was generous about the Britten! As he should be....)

[Tevot]

Hello there,

Well I listened to the concert twice on the listen again facility and by chance stumbled upon the last few minutes of the Ades on BBC4 yesterday. Ades' take on the Sinfonia da Requiem sounded better and made more sense to me on the second hearing. The Cello Concerto was gripping and indeed it prompted me to buy Paul Watkins' recording of it with the BBC Symphony Orchestra. As for the Ades I thought it packed a tremendous punch - ‘O Death, how can I understand?/ I cannot walk, yet I must dance!’

As stated I only saw the last 10 minutes or so of the BBC4 Broadcast - but I can report that Tom Service's tight jeans commanded the attention and that his whistling of 'Always Look on the Bright Side of Life' was technically excellent

Therein perhaps the next commission for Thomas Ades? - "Variations on a theme of Monty Python."

Best Wishes,

Tevot