Those who have bought the guide may be looking forward to the premiere of the choral version of Tchaik's Tempest, Rach's Paganini Variations or Prokofiev 3 on August 23rd. The mind boggles.
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My reaction is much like ferney's, though different concerts appeal.
Lots to enjoy from the sofa, but nothing that really justifies the expense (once travel and food are costed in) for me, given that the concerts are broadcast.
One grouse is the occasional poor value for money (yes, I know it's quality not quantity that should be considered).
Prom 7 (Wednesday 20 July) has only 72 minutes of music listed, though a running time of 7:30--c9:20 given.
Faure Shylock (19')
Stravinsky Pulcinella --- suite (23')
Poulenc Stabat Mater (30')
Given that two soloists (soprano and tenor) are needed for the Poluenc, could they not have hired a third and given us Pulcinella complete?Comment
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Just as tiresome as the endless accusation that all people like me want is a tailor-made proms season of unknown composers! Absolutely not the case, just a handful of works imaginatively and thoughtfully programmed with better known works/composers in two months worth of concerts, really is it that difficult??? It is managed after all with new Proms commissions without much problem. Besides I wouldn't exactly call the likes of Honegger, Hindemith, Martinu, Copland, Milhaud, Barber, Carter etc obscure.Originally posted by Darkbloom View PostComment
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Neither did the proof-readers. Can't blame them really as the provision of music education nowadays is rubbish and they're probably paid pennies anyway.Originally posted by Pulcinella View PostHadn't spotted that!
Another howler is the misspelling of tenor Sam Boden's name as Bodsen, rather shown up by the correct picture caption just above.Comment
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Inevitably it is largely a question of how what is on offer matches with personal taste. On that basis and 1st and 2nd readings this looks a decidedly "meh" season.
In terms of unmissables, there's Haitink/LSO Mahler 3 and... that's about it. Although there are some interesting opera options, then a Nevsky here and a Prokofiev 3 there and an RLPO/Petrenko and soon enough, enough's enough.
On the whole, the usual form then - though with the meh-ometer registering higher than usual.Comment
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Well, more focus on one thing means less on another, in this case, British music of non living composers seems to have suffered a bit.
As for proms that are not classical, beyond the "strictly" Prom, they are mostly Jazz instead of Ibiza Dance music, which makes a lot more sense to me. Bit of an invasion of German orchestras ... Staatskapelle Dresden, Staarskapelle Berlin, Gewandhaus, Berlin Phil, Munich, Stuttgart. And an astonishing amount of 21st century music - and Mozart. I think its balanced better than the last few years and also less of a warhorse convention. If it stays that way and rotates between the focus on Russian composers like this year and British/American/central European/french/everything else in the future, everything is going well.Comment
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Well, perhaps - but so does the annual wrist-slapping oversimplified response to such comments. Nobody ever wishes for an "endless series of obscure composers", nor does any "particular listener" expect that the entire season should be "tailor-made" for them. Rather that the Proms shouldn't be quite so predictable, safe, and M-o-R every year: just stick a three or four concerts of Music from before the 16th Century and from the most innovative living composers, 'sorl!Originally posted by Darkbloom View Post
Edit: ah! I notice suffy makes the same points in #34.
[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]Comment
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Exactly right. (I'll be listening in for a few things all the same.)Originally posted by ferneyhoughgeliebte View PostComment
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Good that the Ulster Orchestra have been given a prom, thoroughly deserved.Comment
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I suppose part of the lack of diversity can be put at the feet of the conductors as much as the Proms. It would be refreshing if a few of them would be advocates for things a little less mainstream occasionally. The names SuffolkCoastal cited (with the exception of Carter, I suppose) aren't going to frighten any horses, but I'd rather hear a committed performance of their works than something routine thrown into the middle of a programme by the BBCSO and forgotten almost before it has ended. You don't get to hear Max Reger very often over here, so at least that's something, and I am sure there are others there on closer inspection, so don't make it sound like the Boston Pops. The Proms also make an effort to commission new work too, even if is going to be inevitably patchy. The organisers have to accept each year that they are going to upset a few people who wanted a Bax cycle, or a Rubbra retrospective. I see this grumbling as part of the new season, just as the grumbling at the end is traditional too.Originally posted by ferneyhoughgeliebte View PostWell, perhaps - but so does the annual wrist-slapping oversimplified response to such comments. Nobody ever wishes for an "endless series of obscure composers", nor does any "particular listener" expect that the entire season should be "tailor-made" for them. Rather that the Proms shouldn't be quite so predictable, safe, and M-o-R every year: just stick a three or four concerts of Music from before the 16th Century and from the most innovative living composers, 'sorl!
Edit: ah! I notice suffy makes the same points in #34.Comment
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There's also a printable.
Neither of them is as concise as I could make it. I was hoping to get away without doing anything this year, but will if there's a need.Comment
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I never ask - it's always voluntary. But I hope you noticed that I've said a special thank you for all the upgrading work you've been doing.Originally posted by Andrew Slater View PostIt isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.Comment
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