Proms Chamber Music 2: Nielsen/Mozart (27.07.15)

[Eine Alpensinfonie]

1.00 p.m.
Cadogan Hall

After many years away from the concert platform pianist, Christian Blackshaw has recently returned and has gained immediate recognition for his interpretation of Mozart's Piano Sonatas. This lunchtime he is joined by the Royal Northern Sinfonia Winds for Mozart's elegant Quintet for piano and winds, described by the 28-year-old composer as 'the best thing I have written in my life so far', and it's paired with Nielsen's Wind Quintet which was influenced by Mozart's and is a showcase for each of the five wind instruments.

Nielsen: Quintet Wind Quintet, FS100, Op 43
Mozart: Quintet for Piano and Wind in E flat major, K452

Christian Blackshaw (piano)
Royal Northern Sinfonia Winds
Juliette Bausor, flute
Timothy Orpen, clarinet
Peter Francomb, horn
Steven Hudson, oboe
Stephen Reay, bassoon

[Eine Alpensinfonie]

Since hearing Christian Blackshaw at Snape Maltings, I've placed him in the top draw of contemporary British pianists.

[Eine Alpensinfonie]

Do we know who the individual players are?

[edashtav]

What a marvellous acoustic, Cadogan Hall provides for chamber music. The soundscape that opened up as the instruments joined one by one at the start of Nielsen's quintet was beauteous and felt so right on a summer luncheon, just as Barber's "Evening Music" can beguile at sunset. What fine musicianship from these principals of the RNS. There was a relaxed confidence, sure in their knowledge that neither technique nor sensitivity would let them down. Blend, and where necessary clarity of separation, were nigh impeccable. Do give this piece a run on the iPlayer- I shall be shocked if you regret doing so. ( I'll add one note of caution, as the piece develops Nielsen introduces elements of the "grotesque" that characterise his later music - was this quintet's mellifluous mien a little too bland for these moments - were they tamed, I wonder?)

To the Mozart. Did it take the winds a moment to adjust to Blackshaw's delicacy at the outset, or was that a microphony/balance issue? Once the exposition started matters were righted. There was some lovely playing and plenty of graceful "give & take". Christian Blackwell is maturing as an artist and I felt that he contributed some classical Mozartian piano playing. Once again, I settled to enjoy the performance trusting the players' intelligence and artistry. The slow movement was delightful with some delicious solos. On the early iPlayer version finale ended, the audience cheered, and chop the recording ceased, abruptly. What a shame.

[Eine Alpensinfonie]

I hadn't heard the Nielsen before, but as edashtav says it's well worth getting to know.
As for Christian Blackshaw's Mozart playing, I know of none better.

[bluestateprommer]

Do we know who the individual players are?

Petroc credited them post-applause after the Nielsen:

Juliette Bausor, flute
Timothy Orpen, clarinet
Peter Francomb, horn
Steven Hudson, oboe
Stephen Reay, bassoon

Splendid rendition of the Nielsen indeed (one tiny near slip aside). Catching up with the Mozart momentarily.

[Eine Alpensinfonie]

Petroc credited them post-applause after the Nielsen:

Juliette Bausor, flute
Timothy Orpen, clarinet
Peter Francomb, horn
Steven Hudson, oboe
Stephen Reay, bassoon

Splendid rendition of the Nielsen indeed (one tiny near slip aside). Catching up with the Mozart momentarily.

Thank you.
I'll add them to the OP.

[Daniel]

Much as I admire some of Christian Blackshaw's solo playing, I found myself longing for the sound of a period instrument in the Mozart. The balance of timbres between wind and piano seemed all wrong (even though wind instruments were also modern). Certainly don't always feel this way about Mozart on modern instruments.

Like EA, I'd never heard the Nielsen before, and found his exploration of sounds to be had from that musical grouping pretty beguiling. Not quite sure what I thought of the work overall, but:

The soundscape that opened up as the instruments joined one by one at the start of Nielsen's quintet was beauteous [...] Do give this piece a run on the iPlayer- I shall be shocked if you regret doing so.

'Yes!' to the first part of this quote, and I certainly didn't regret listening.

[Tony Halstead]

I found myself longing for the sound of a period instrument

if I may say so, that's a bit idealistic... even with period instruments accompanying the fortepiano, in this work (K452) it's fatally easy for the wind to overbalance the rather fragile voice of the fortepiano, even when its player is audibly, strenuously attempting to be heard (in this particularly notorious example where the fortepiano player repeatedly 'decorates' and embellishes the piano part so as to draw attention to it but, sadly, all to no avail):

http://www.aam.co.uk/#/recordings/discography/beethoven/beethoven-quintets.aspx

[Daniel]

Hi Tony, it wasn't really the volume of the piano (if that's what you meant by 'overbalance'?), more the timbre that sounded wrong to my ears in this setting. I know the wind instruments were also modern, but perhaps via the transformational magic of my own ignorance, this didn't seem to matter so much, i.e. they didn't sound wrong to me, if that makes sense?

I can't get your sound sample to play on this browser I'm afraid, but have found this on youtube which looks like it may be the same recording (?). And I find the blend of timbres there personally, a far preferable and more meaningful experience.
Have only listened to the 1st movement so far (will listen to the rest later) but just as an example, the fortepiano chords at approx 3.49 on that youtube clip sound as if they're conversing completely naturally with the winds. In the Proms performance which is played on a concert grand, I remember thinking the same chords sounded wrong, heavy and not really conversing timbrally with the other instruments (and Christian Blackshaw always seems to have a very refined touch, so I don't think it was him).

Anyway, will listen to the complete thing later in the week bearing in mind the issues you mention. I didn't know this work was considered such a problematic one for matters of balance.

I've just twigged I think (?) that it is you playing the horn in that Robert Levin performance, so clearly you know what you're talking about, and may I just iterate what is already clear, that I know very little, and everything I say is based just on impressions.

[Eine Alpensinfonie]

Hi Tony, it wasn't really the volume of the piano (if that's what you meant by 'overbalance'?), more the timbre that sounded wrong to my ears in this setting. I know the wind instruments were also modern, but perhaps via the transformational magic of my own ignorance, this didn't seem to matter so much, i.e. they didn't sound wrong to me, if that makes sense?

Not trying to be difficult here - but I'm the exact opposite. Give me period woodwind instruments and I'm happy, but those early pianos just sound weak. That has nothing to do with volume of sound, for a harpsichord sounds much stronger but no louder. The modern piano may be wrong technically, but in capable hands, it is so much more expressive in Mozart's music than the instrument he had to live with.

[Daniel]

The modern piano may be wrong technically, but in capable hands, it is so much more expressive in Mozart's music than the instrument he had to live with.

I'd disagree very strongly with that statement.

But if I were permitted to edit it thus:

The modern piano may be wrong technically, but in capable hands, it is so expressive in Mozart's music.

I'd change my tune completely and would be happy to say I'm in complete agreement with that statement.

(Hurrah! As somebody used to say, Unanimity has been achieved on the FoR3 forums! )

[Eine Alpensinfonie]

[edashtav]

I'm schizoid - depending on pianist & instrument, either can seem right in the heat of a live performance. Virtuosity and sensitivity rules, OK?

[Bryn]

I'm schizoid - depending on pianist & instrument, either can seem right in the heat of a live performance. Virtuosity and sensitivity rules, OK?

Nail struck firmly on head.