Prom 39 - 15.08.14: BBC SSO, Biss / Stenz

[Eine Alpensinfonie]

Friday, 15 August
7.30 p.m. – c. 10.00 p.m.
Royal Albert Hall

Rameau: Les Indes galantes - suite
Bernard Rands: Concerto for Piano and Orchestra (UK premiere)

Mozart: Symphony No. 1 in Eb, K16
Richard Strauss: Ein Heldenleben, Op 40

Jonathan Biss, piano (Proms debut artist)
BBC Scottish Symphony Orchestra
Markus Stenz conductor

Markus Stenz is a conductor with a far-reaching and wide-ranging musical appetite. Tonight's Prom embodies his searching musical personality as he conducts the BBC Scottish Symphony Orchestra in an eclectic mix of music ranging from the early 18th century to the present day.

The first half juxtaposes music from a master of the French baroque, Rameau's Les Indes galantes, with a colourful work by the Anglo-American composer Bernard Rands. His Piano Concerto is heard for the first time in the UK, played by former BBC Radio 3 New Generation Artist Jonathan Biss.

While the second half begins with the elegant classicism of Mozart's first numbered symphony. And - as the BBC Proms continues to mark the 150th anniversary of Strauss's birth - reaches a suitably heroic climax, with that composer's vibrant tone poem Ein Heldenleben.

[Eine Alpensinfonie]

The BBC blurb above refers to K.16 as "Mozart's first numbered symphony", implying that there were earlier unnumbered ones. However, it really was by Mozart, and the only one that might have been composed earlier was the "Odense", which was almost certainly not my WAM.

Of course, had K.16 been written by anyone else, it would probably never be performed. Having said that, it's well-written and attractive.

[aeolium]

The BBC blurb above refers to K.16 as "Mozart's first numbered symphony", implying that there were earlier unnumbered ones. However, it really was by Mozart, and the only one that might have been composed earlier was the "Odense", which was almost certainly not my WAM.

Of course, had K.16 been written by anyone else, it would probably never be performed. Having said that, it's well-written and attractive.

I cannot understand why works like this are programmed in concerts, let alone at the Proms. There are many better symphonies by WAM's contemporaries that we hardly ever hear in concert, not to mention works from the many other neglected symphonists from other eras. If people want to listen to Mozart's juvenilia then I think they should do it via CD rather than on broadcasting time which could be much better used.

[Eine Alpensinfonie]

I cannot understand why works like this are programmed in concerts, let alone at the Proms. There are many better symphonies by WAM's contemporaries that we hardly ever hear in concert, not to mention works from the many other neglected symphonists from other eras. If people want to listen to Mozart's juvenilia then I think they should do it via CD rather than on broadcasting time which could be much better used.

[Roehre]

The BBC blurb above refers to K.16 as "Mozart's first numbered symphony", implying that there were earlier unnumbered ones. However, it really was by Mozart, and the only one that might have been composed earlier was the "Odense", which was almost certainly not my WAM.

Of course, had K.16 been written by anyone else, it would probably never be performed. Having said that, it's well-written and attractive.

I'm afraid it is more complicated than that, Alpensinfonie.

KV16 is the first work which survived which is described and completed as Sinfonia (with title and corrections in Leopold's hand).

But according to Nannerl there was another one, composed before this KV16, with corrections in Nannerl's hand, for which Wolfgang had made sketches in London. This score has apparently not survived (like KV19b; the Odense KV16a is with certainty not by WAM).

However, there is the Chelsea Sketchbook, of which the mvts KV15kk (Allegro in E-flat), 15dd (Andante in A-flat) and 15ee (Menuetto in E-flat) are very likely orchestral reductions.

Putting these movements together make them a symphony very similar to KV16 (and -for that matter- a symphony by Leopold, Wolfgang's example here, which he copied and is numbered KV17/Anh.223a) which chronologically fits in Nannerl's description of events and explains these sketches being completely written or re-drawn in ink [most surrounding skteches are in pencil only, and are either for keyboard(-solo) or violin + keyboard].

A recording has been made by the Academy-of-St.Martin-in-the-Fields/Marriner on a Philips LP "Mozart in Chelsea" in a realisation by Eric Smith (Philips producer, the spiritual father of the 1990 Philips Complete Mozart Edition Project and a respected Mozart Scholar himself).
A score might still emerge one day, or of the lost works KV19b and 66a-d, as KV19a was rediscovered in 1981 IIRC, after Hogwood's series of complete Mozart symphonies had been completed already.

So, just by chance I guess , the BBC blurp has got it right.
Incredible, but true.

[Roehre]

I cannot understand why works like this are programmed in concerts, let alone at the Proms. There are many better symphonies by WAM's contemporaries that we hardly ever hear in concert, not to mention works from the many other neglected symphonists from other eras.

A blatant case of music played because it bears Mozart's name, not because of its qualities.
Happens too many times with works bearing WAM's name.

If people want to listen to Mozart's juvenilia then I think they should do it via CD rather than on broadcasting time which could be much better used.

Cannot agree more.

[Eine Alpensinfonie]

I'm afraid it is more complicated than that, Alpensinfonie.

KV16 is the first work which survived which is described and completed as Sinfonia (with title and corrections in Leopold's hand).

But according to Nannerl there was another one, composed before this KV16, with corrections in Nannerl's hand, for which Wolfgang had made sketches in London. This score has apparently not survived (like KV19b; the Odense KV16a is with certainty not by WAM).

However, there is the Chelsea Sketchbook, of which the mvts KV15kk (Allegro in E-flat), 15dd (Andante in A-flat) and 15ee (Menuetto in E-flat) are very likely orchestral reductions.

Putting these movements together make them a symphony very similar to KV16 (and -for that matter- a symphony by Leopold, Wolfgang's example here, which he copied and is numbered KV17/Anh.223a) which chronologically fits in Nannerl's description of events and explains these sketches being completely written or re-drawn in ink [most surrounding skteches are in pencil only, and are either for keyboard(-solo) or violin + keyboard].

A recording has been made by the Academy-of-St.Martin-in-the-Fields/Marriner on a Philips LP "Mozart in Chelsea" in a realisation by Eric Smith (Philips producer, the spiritual father of the 1990 Philips Complete Mozart Edition Project and a respected Mozart Scholar himself).
A score might still emerge one day, or of the lost works KV19b and 66a-d, as KV19a was rediscovered in 1981 IIRC, after Hogwood's series of complete Mozart symphonies had been completed already.

So, just by chance I guess , the BBC blurp has got it right.
Incredible, but true.

That's utterly fascinating, Roehre. I was relying on Neal Zaslaw's book, but hadn't read it properly as the work is referred to on p. 18-20 & p. 546.

[Roehre]

That's utterly fascinating, Roehre. I was relying on Neal Zaslaw's book, but hadn't read it properly as the work is referred to on p. 18-20 & p. 546.

That's my main source of information too, slightly but not essentially updated by the Mozart Handbuch (6 vols, Laaber Verlag)
Zaslaw's book is infinitely fascinating, isn't it?

[Eine Alpensinfonie]

That's my main source of information too, slightly but not essentially updated by the Mozart Handbuch (6 vols, Laaber Verlag)
Zaslaw's book is infinitely fascinating, isn't it?

It is indeed. I think you might have been the one who persuaded me to buy it.

[Serial_Apologist]

Much looking forward to the Rands p concerto - another composer like Iain Hamilton who started out in the 60s writing serial music yet ended up in the States writing stuff that is ironically much more harmonically and temperamentally in the tradition of Vaughan Williams and Butterworth G.

[amateur51]

If this is going to be broadcast live/recorded for telly, just brace yourself for Mr Biss' new beard which I find quite alarming, it's soooo dense, dark & bristly

[Ferretfancy]

If this is going to be broadcast live/recorded for telly, just brace yourself for Mr Biss' new beard which I find quite alarming, it's soooo dense, dark & bristly

As the bell hop said about Jack Lemmon (aka Daphne) in Some Like It Hot, " That's the way I like 'em ! Big and Sassy!

Sorry to disappoint, but it's not scheduled for TV recording, according to the Proms Guide.

[jayne lee wilson]

Stenz has an excellent recent pedigree in Strauss, witness his super Hyperion release with the Koln-Gurzenich including an outstanding Don Quixote, as notable for it's delicacy as it's warmth...
The big works in Part 2 this week have been a bit disappointing, if always fascinating to see what conductors attempt - let's hope the Heldenleben can do the job and match the Job... (and hope I can make it for 19:30...)

[Barbirollians]

It is a great shame that Mozart's mature symphonies now seem very seldom played at the Proms . Oh for a Jupiter or K 550 .

[Alison]

I enjoyed hearing the first symphony even so.

Quite an appealing programme overall. Much more attack in the orchestra tonight alongside the comparatively tame Mahler Ninth under Runnicles.

Perhaps not the ideal Richard Strauss orchestra with a shortage of glow and luxuriance - IMHO etc.

Good work from the leader, a most individual reading.