Prom 70: Tchaikovsky/Rachmaninov/Rimsky-Korsakov (7.09.15)

[Darkbloom]

I also have had the same two thoughts. One gets the impression in those staggering '50s/'60s recordings that a wrong note or entry might result in the player being exiled to deepest Siberia.

Yes, I'm not sure what to think about the absence of that kind of demented precision from orchestras today. You get to hear wonderful results from people like Mravinsky, Szell, and Reiner, but you can't help pondering on the human cost. The footage of Mravinsky conducting does not reveal an especially elfin personality and he must have been a holy terror to play for. I don't know whether that was always his style, but his later conducting was so minimalist as to be barely there at all, yet producing results of such intensity that they will never be repeated.

[jayne lee wilson]

I wonder what their home concert programmes are like....

In 1965 Mravinsky made famous live recordings of DSCH 6, Sibelius 7, Honegger 3 and Hindemith's Harmonie der Welt - the latter's finale would put some magic in the RAH mushrooms...
They could've played these as a 50th anniversary celebration...

Did they think it was daring to play Elgar in London?

[seabright]

At least the Elgar won't be new to either Termikanov or the orchestra ...

https://www.youtube.com/watch?v=SvA6FtN8-n0

[pastoralguy]

Super concert!

[edashtav]

I wonder what their home concert programmes are like....

In 1965 Mravinsky made famous live recordings of DSCH 6, Sibelius 7, Honegger 3 and Hindemith's Harmonie der Welt - the latter's finale would put some magic in the RAH mushrooms...
They could've played these as a 50th anniversary celebration...

Did they think it was daring to play Elgar in London?

I share your concerns, Jayne - a time there was when we worried lest the Soviet regime was blunting the cutting edge of Soviet composers, these days composers in Russia seem to enjoy a fair freedom but the orchestras are backward looking and conservative. Most leading orchestras in the world today wouldn't dream of showcasing the two programmes that the St Petersburg Philharmonic Orchestra are bringing to the Proms this year. But.. let's judge them on what they made of these pieces.

I did think their performance of Tchaikovsky's Francesca da Rimini had much to commend it: it was infernally hot and yet contained the sweetest of love-songs as introduced by its principal clarinettist. Was it over the top? Did Temirkanov allow his brass too free a rein during some raucous climaxes? I leave those who were in the RAH to rule.

I didn't feel a close affinity between Temirkanov and his soloist in the first movement of Rachmaninov's 2nd Piano Concerto but things improved in the slow movement in which Lugansky held sway. The finale retained shape and direction but the most relaxed playing from Nikolai came in his Etude Tableaux encore.

Scheherazade was played "con amore" with some winning solos from the first desk players in virtually all sections of the orchestra. Temirkanov kept the accompaniment buoyant, lifting and pointing rhythms, and affording more than ample room for its lyricism to expand. There's no doubting the gains that come from hearing an orchestra on its home ground. Yet, and yet, some details in the accompaniment were smudged as the conductor sought to make another big gesture. However, I must doff my cap to YT for his ability to capture the essence of some moments, to grab and "swing" the underlying rhythmic pulse - one valse section took my breath away. The detail, precision, speed and accuracy during the speedy development of the fourth section was deeply impressive- playing and conducting of the highest quality and Scheherazade's coda was hushed and moving.
The Tchaikovsky Pas de deux encore displayed, once again, Temirkanov's ability to make a waltz into a French valse, he fills dresses with air so that ladies become lighter than feathers as they are swirled around by the pliant arms of their partners. Was the "tempo rubato" of the second encore too mannered and extreme for comfort- certainly this was the most idiosyncratic performance that I've ever heard of Albeniz's Tango - but how much of the waywardness was encouraged by its Russian arranger who has the blood of Carmen on his hands- R.S.?

[richardfinegold]

Although still the fine orchestra it was in the Leningrad days, the sound seems to have become more "western" in recent years.

The brass no longer sounds a saxaphone section

[richardfinegold]

A very unadventurous programme although Scheherazade does not seem to appear in the concert hall as often as it once did . Shame we could not have had a Medtner concerto for example .

Medtner? The sound of 3000 listeners snoring in RAH wouldn't have sounded to spiffy on the iplayer...

[mrbouffant]

A really enjoyable concert. The hall was rammed full. Sat, as I was, in the front row of the Choir I had a great view of the conductor's lugubrious style. Clearly a man completely in control of his band, his gestures were wide-ranging and idiosyncratic (no baton). I was struck by two things in particular: the luxuriant coiffure of the concert master (no 'leader' for this band) and the superb wind playing.

The percussionists and timpanist were also good value. The virtuoso tambourine part in Scheherezade was of particular note.. who ever knew there were so many ways to hit the thing!

I hope their second concert tonight is as wonderful.

[Nick Armstrong]

Medtner? The sound of 3000 listeners snoring in RAH wouldn't have sounded to spiffy on the iplayer...

The Medtner concertos are very far from snore-worthy, richard!!!

[Keraulophone]

Yes, the tambourine player was certainly a virtuoso of his instrument, and even the triangle player had a special way of wobbling the thing with his left hand after striking it with his right. For me, the most remarkable section were the fifteen first violins (including five ladies). They produced a huge variety of tone, rich in their lowest register, and all were striving to do their utmost right to the back desks, not always a characteristic of British string sections. Their charismatic leader with the flowing locks was an impressive soloist in the RK, and he even joined in the foot-stamping to encourage the Prommers to entreat the second encore. The brass wasn't too loud in the hall, though in some ways I miss a slight wobble in the horns; the straight sound doesn't seem authentic, now that it has become the international norm. Wonderful woodwind principles, especially the clarinet and piccolo, an often overlooked instrument that carries above the tutti, so it must be essential to get absolutely everything right. Re the subject of another thread, the conductor's left hand, it turned pages, pointed out entries, encouraged greater intensity of tone, in a gesture akin to tickling a cat's tummy, swirled in circles with the right hand, the purpose of which was unclear, and occasionally found itself the only hand conducting, while Yuri gave his right a well-earned rest. I was so glad to find this orchestra still playing outstandingly well, and look forward to tonight's offering.

[Bax-of-Delights]

Up in the Circle for last night's performance. Not my favoured spot in the RAH as it gets a bit warm, although I did occasionally notice a coolish breeze brush across the pate so presume there is some kind of air-conditioning (someone open a window?).

I was looking for something much more visceral than we got from Francesa Da Rimini. It is a tragedy and we are in Hell, after all, but I felt that the performace was "safe" and the sound a bit dulled (perhaps being in the W section of the Circle doesn't help). I've heard Stokowski do the same piece and it is difficult to match the sense, at the final resounding gong peroration, that one is equally doomed to be blown around the Fifth Circle for eternity.

(As an aside, Mrs B-o-D remarked to me when the concert-master strode on to the stage that she hadn't realised that Andre Rieu also played for the Leningrad. )

[VodkaDilc]

The concerto was the highpoint of the evening, as far as I was concerned. Lugansky was on great form and it was clear that soloist, orchestra and conductor had the music in their blood. The audience seemed to agree and the reception they got was tremendous.

The second half was a let-down for me; a fairly dull piece, nicely played, but no more than that. The orchestra sounded good though, and the unusual layout (though perhaps not for this orchestra), with all the brass on the right and lower strings on the left, seemed to work well. As others have remarked, the "Russian-ness" of the orchestra seems to have been ironed out - though the 1st bassoon made a wonderfully individual sound. Other soloists stood out too - especially the leader and the 1st 'cello.

My first Prom for a few weeks - it was a shock to go outside in the interval and find that it was dark. Autumn seems to be upon us.

[Il Grande Inquisitor]

As others have remarked, the "Russian-ness" of the orchestra seems to have been ironed out.

Yes, I pondered that too in my review... although the orchestra still makes a terrific sound.

https://bachtrack.com/review-prom-70-temirkanov-lugansky-st-petersburg-philharmonic-september-2015

[Barbirollians]

The concerto was the highpoint of the evening, as far as I was concerned. Lugansky was on great form and it was clear that soloist, orchestra and conductor had the music in their blood. The audience seemed to agree and the reception they got was tremendous.

The second half was a let-down for me; a fairly dull piece, nicely played, but no more than that. The orchestra sounded good though, and the unusual layout (though perhaps not for this orchestra), with all the brass on the right and lower strings on the left, seemed to work well. As others have remarked, the "Russian-ness" of the orchestra seems to have been ironed out - though the 1st bassoon made a wonderfully individual sound. Other soloists stood out too - especially the leader and the 1st 'cello.

My first Prom for a few weeks - it was a shock to go outside in the interval and find that it was dark. Autumn seems to be upon us.

Scheherazade dull ??? I suggest an acquaintance with the Silvestri recording is required - dull it isn't .

I missed the second half but I agree with those who thought FDR a bit safe. The Rachmaninov 2 also sounded pretty safe and Lugansky rather detached at times . A routine account to my ears.

[richardfinegold]

The Medtner concertos are very far from snore-worthy, richard!!!

Medtner's Concertos are obscure for a reason, but I am not denying that they have value. For instance I have recommendedthem frequently to Patients who are severe insomniacs...