Prom 4: Beethoven – Symphony No. 9 (19.07.15)

[Alison]

Yes, awful gushing from SK. Agree about the performance too, the well played first movement flowing along too amiably.

[Prommer]

Totally agreed, but a superb performance!!

[HighlandDougie]

While everyone else whips themselves into a frenzy of indignation about the BBC's no doubt somewhat egregious interjection of Mark Elder, can we get back to the performance? It might not have been the Beethoven 9th to end all Beethoven 9ths (I suspect that no such performance exists) but it was, err, joyous ... Beautifully played by the CBSO and not half badly sung, even allowing for the baritone's slightly mangled German. Bravo to Andris Nelsons - I will never be rude about him again.

[edashtav]

It might not have been the Beethoven 9th to end all Beethoven 9ths (I suspect that no such performance exists) but it was, err, joyous ... Beautifully played by the CBSO and not half badly sung, even allowing for the baritone's slightly mangled German. Bravo to Andris Nelsons - I will never be rude about him again.

I agree with you, HD, on the fine qualities of Andris Nelson's Choral Symphony. It was light-footed - in places it tripped along as if it were Beethoven Apotheosis of the Dance. Tempi were very quick in the faster movements and didn't slouch in the Adagio. There was some marvellous wind-playing and the CBSO Chorus were better blended and more disciplined that the several choirs that sang Belshazzar's Feast in the opening Prom. The whole was freshly imagined and nothing was routine . Similarly, The Creatures of Prometheus Overture recovered from a sloppy first chord to bounce along full of exuberant primal energy and fun. Margaret Cookhorn played the Contrabassoon Concerto with aplomb. The piece was witty, cheeky, irreverent, and full of delightful surprises. Papa Haydn would have enjoyed hearing it.

This concert had unity and purpose. It was most enjoyable. It's freshness and vibrancy were life enhancing.

[EdgeleyRob]

I was reminded of Malcolm Arnold at times in the Contrabassoon Concerto.

[edashtav]

I was reminded of Malcolm Arnold at times in the Contrabassoon Concerto.

Spot On!

[Bert Coules]

I'm afraid I'm out of step with today's lighter, faster, tripping-along Beethoven. I learned the symphonies and overtures from Klemperer and my brain tells me that's still the way they ought to sound.

[Prommer]

I'm afraid I'm out of step with today's lighter, faster, tripping-along Beethoven. I learned the symphonies and overtures from Klemperer and my brain tells me that's still the way they ought to sound.

Compared with many approaches these days, I thought this performance had some weight and bone marrow to it!

[mercia]

I very much enjoyed this performance of Beethoven 9, however I also v.m.e.'d the first night Mozart so my opinions are, at best, unreliable.

[Nick Armstrong]

in my recent experience, [Sir Mark Elder] is the supreme master of the withering look to any member of the audience behaving antisocially.

He needs to give himself a look in the mirror after his inter-movement lecturettes.

Back to the piece and the concert. I've edited out all presentation and interruption from my recording and had a listen/watch last night. It really is a very compelling performance - intense (hence doubly idiotic of thinking of interrupting it with chat) - and for once the soloists were all pretty spot on. In the orchestra, I was struck by some terrific woodwind playing in particular. Memorable stuff.

[Hornspieler]

He needs to give himself a look in the mirror after his inter-movement lecturettes.

Back to the piece and the concert. I've edited out all presentation and interruption from my recording and had a listen/watch last night. It really is a very compelling performance - intense (hence doubly idiotic of thinking of interrupting it with chat) - and for once the soloists were all pretty spot on. In the orchestra, I was struck by some terrific woodwind playing in particular. Memorable stuff.

Who does he think he is? The 21st century Malcolm Sargent? He should concentrate on fulfilling his obligations to his own orchestra - with his baton, not his mouth.

Anyway, I enjoyed the first two movements. Nice ensemble, though I didn't go along with all that doubling up in the woodwind.

And then we came to the third movement. The one chance in the year when the 4th horn is given an opportunity to shine and it was taken away by the 1st Horn, whilst her "bumper up" played the first horn part.

Well, in my book, if the 4th horn is not a good enough player to handle those solo passages, he should not be a member of the horn section.

I would be very interested to know what Tony thinks.

I shall listen to (and view) the finale when I've cooled down a bit.

HS

[jonfan]

Great performance; the chorus in stunning form which goes to show that when not encumbered with looking at the score they can respond to the conductor with total unanimity. It was noticeable that the soloists used their books, especially so as they stood in the chorus. Unusual that the 4th horn solo in the Adagio was played by the 1st horn. I thought 4th horns today relish their spot in the limelight with this famous solo.

[Hornspieler]

Great performance; the chorus in stunning form which goes to show that when not encumbered with looking at the score they can respond to the conductor with total unanimity. It was noticeable that the soloists used their books, especially so as they stood in the chorus. Unusual that the 4th horn solo in the Adagio was played by the 1st horn. I thought 4th horns today relish their spot in the limelight with this famous solo.

See my post #43. I'm glad to see that somebody else is of the same view.

HS

[Tony Halstead]

Who does he think he is? The 21st century Malcolm Sargent? He should concentrate on fulfilling his obligations to his own orchestra - with his baton, not his mouth.

Anyway, I enjoyed the first two movements. Nice ensemble, though I didn't go along with all that doubling up in the woodwind.

And then we came to the third movement. The one chance in the year when the 4th horn is given an opportunity to shine and it was taken away by the 1st Horn, whilst her "bumper up" played the first horn part.

Well, in my book, if the 4th horn is not a good enough player to handle those solo passages, he should not be a member of the horn section.

I would be very interested to know what Tony thinks.

I shall listen to (and view) the finale when I've cooled down a bit.

HS

UnfortunatelyI didn't see or hear it.
Before we all jump in to criticise the 1st horn for 'nicking' the 4th horn solo it would be as well to give some thought to the following:
1) The conductor may have insisted that the 1st horn play the solo. Unbelievable, I know, but this has happened to me on 2 or 3 occasions.
2) The orchestra's 'veteran' 4th horn of over 30 years' standing is retiring at the end of this season, partly for medical reasons; it might be that he is currently unwell.

[Roehre]

....

And then we came to the third movement. The one chance in the year when the 4th horn is given an opportunity to shine and it was taken away by the 1st Horn, whilst her "bumper up" played the first horn part.
.....

HS

As Beethoven prescribed in the score (and a long time ago HS explained to me why... )