Prom 39: 14.08.16 - Haydn, Charlotte Bray and Mahler

[Eine Alpensinfonie]

19:30 Sunday 14 Aug 2016
Royal Albert Hall

Joseph Haydn: Symphony No 34 in D minor
Charlotte Bray: Falling in the Fire (BBC commission: world premiere)
Gustav Mahler: Symphony No 5 in C sharp minor

Guy Johnston cello
BBC Symphony Orchestra
Sakari Oramo conductor

The latest in the series of Proms cello concertos is a powerful new work from Charlotte Bray, an expression of 'moral outrage' at the destruction of the ancient city of Palmyra, Syria, last summer, after which 'everything changed' in the composer's compositional outlook.

Similarly, something changed in Mahler when he came to write his Fifth Symphony. Not only had he survived a haemorrhage that had nearly killed him, but he had also met and fallen in love with Alma Schindler, for whom the Fifth Symphony's ardent Adagietto is a love song. Before that, Haydn's Symphony No. 34 makes its first appearance at the Proms.

http://www.bbc.co.uk/programmes/b07nmg18

[Eine Alpensinfonie]

http://charlottebray.co.uk/works/orchestra/falling-in-the-fire/

[Serial_Apologist]

http://charlottebray.co.uk/works/orc...g-in-the-fire/

Thanks, EA, for this link to the Bray cello concerto, which looks to be one of the most ambitiously-inspired new pieces I've come across for a long time. I shan't miss this one!

I hadn't realised that the famous Adagietto from Mahloer 5 was a love song to Alma, though I'm probbly the only person in the world who didn't realise this. The movement contains a strong reference to "Siegfrieds idyll", which I've always felt must be symbolic in some way. (So does Strauss's "Till Eulenspiegel" btw).

[Nick Armstrong]

I shan't miss this one!

Looking forward to setting off in an hour or so for a sunny amble across the park to this one... Can't wait to hear if Oramo paces and shapes his Mahler as well as he does his Elgar.

[edashtav]

Thanks, EA, for this link to the Bray cello concerto, which looks to be one of the most ambitiously-inspired new pieces I've come across for a long time. I shan't miss this one!

[..].

Haydn Symphony no 34 in D minor (Prom. Premiere)
Storm and Stress part 1! Phew, a symphony commencing with an adagio movement of weight and intensity! Revealingly balanced by Sakari Oramo, I was delighted to hear this work that was new to me. I felt its kinship with the Lamentatione Symphony that I’ve plundered for funerals. Structurally quite simple, the quality of Haydn’s inspiration makes this adagio compelling listening. The loving care that Sakari took over this movement was endearing.

No doubt, the Court was electrified, as I was, by the stirring Allegro that followed. Skittering violins alternated with chattering oboes. All very bracing and inventive with horns added to enrich the development. Extremely witty and diverting. Again, playing and direction were exemplary and revelatory.

The short Minuet was a fresh take on the conventions governing such dances. Haydn was happy to throw in new effects and then to sort out the mix into a successful whole. Hats off to a genius.

The finale was a real romp, a rustic jig that asked a great deal of the violin section. Vital playing from the whole band made this my stand-out performance of this Prom Season.This was Haydn playing of the highest quality. I loved it and, from the response of the RAH audience, I guess, it felt likewise.

Charlotte Bray Cello Concerto “Falling in the Fire”

My knowledge of Charlotte Bray is dim and distant. The background inspiration for this work was a formidable challenge.Could the composer encapsulate the horror of the events that lay behind it?

The fusillade that erupted at the start was as raw as war. As it ceased, the cello dominated an uneasy stillness that was immediately disrupted by shards from woodwind and brass. “Was this going to be Music for an Unmade Film,” I mused. I judged not because I could detect more than visceral illustration in sound, the music had structure, development and direction.

Any piece of wartime music lives or falls by its ability to project the tensions and fears in the lulls between the storms of destruction. In that regard, Charlotte and her performers rose to their task wonderfully well. Tempi and dynamics calmed down but the music’s intensity remained constant, much aided by the cross-cutting that interrupted the music’s progress.

The performance was confident and very expressive. Full marks to one and all.. It was fascinating to hear this new concerto in the context of hearing and much enjoying Huw Watkins new work only days before. If they were in a cricket match between “Gentlemen” and “Players”, Huw would be batting in fine style for the former, all unpaid amateurs, whilst Charlotte would be a sweaty Ian Botham battling with bat and ball for the professional players. In musical terms, Watkins was Saint-Saens and Bray Beethoven. There’s room in the firmament for both.

[DracoM]

Bray 'Falling in the Fire' was electrifying and quite brilliantly played by both soloist and orchestra. A real challenge, a real refreshment to the ear. Many thx.

[jonfan]

BBCSO and Sakari Oramo on fire tonight with playing and conducting to compare with the best. The Haydn was delicious as noted above but the Mahler 5 held me captivated throughout. Not only stunning playing from all departments [a bravado third movement from Martin Owen, horn] but stunning sound as well. This is up there with the best I've heard.
We're getting consistent superlative performances from the BBC groups this Proms:- Beethoven 5 from the same forces; Dvorak 7 from BBCNOW and Elgar 1 from BBCPhil; and that's just the last seven days. Only half way through the proms season and I'd pay the license fee just for these four weeks.

[jayne lee wilson]

A notable point about Haydn 34 is that while it does indeed appear to be on the sonata da chiesa model, (like the better known, fully-fledged tragic masterpiece No. 49, La Passione) Haydn twice entered 34 into his personal catalogue without the introductory adagio. The notes to the Fey recording suggest that it may have been a "reworked Pasticcio, consisting of several movements of incidental music" as in 60. This may account for the split-personality of the work between the Sturm und Drang intensity of the tragic/consolatory adagio (perhaps Haydn thought he'd better get on the drangwagon), and the faster movements where only the finale briefly hints at any darkening of mood. 5, 11 and 22 all follow the same model but as far as I can discover (only having heard The Philosopher) without much gloom or intensity.

Sadly, still too poorly, I had to abandon this performance early on - my fuzzy, dizzy head wouldn't take music in at all. (Luckily Liverpool FC raised my spirits today!)
The BBCSO did seem to be playing the Haydn very stylishly though. I'll try to catch it up.

[Nick Armstrong]

Haydn Symphony no 34 in D minor (Prom. Premiere)
Phew, a symphony commencing with an adagio movement of weight and intensity! Revealingly balanced by Sakari Oramo, I was delighted to hear this work that was new to me. The loving care that Sakari took over this movement was endearing....

No doubt, the Court was electrified, as I was, by the stirring Allegro that followed. Skittering violins alternated with chattering oboes. All very bracing and inventive with horns added to enrich the development. Extremely witty and diverting. Again, playing and direction were exemplary and revelatory.

The short Minuet was a fresh take on the conventions governing such dances. Haydn was happy to throw in new effects and then to sort out the mix into a successful whole. Hats off to a genius.

The finale was a real romp, a rustic jig that asked a great deal of the violin section. Vital playing from the whole band made this my stand-out performance of this Prom Season.This was Haydn playing of the highest quality. I loved it and, from the response of the RAH audience, I guess, it felt likewise.

BBCSO and Sakari Oramo on fire tonight with playing and conducting to compare with the best. The Haydn was delicious as noted above but the Mahler 5 held me captivated throughout. Not only stunning playing from all departments [a bravado third movement from Martin Owen, horn] but stunning sound as well. This is up there with the best I've heard.

Yes, yes, yes and yes - agree with all the above. Heard from the stalls, electrifying Haydn and Mahler. I'm afraid the Bray work left me cold but that's no doubt just me.

We came away thinking about the surprising form of the Haydn, and the grin-inducing style of the BBCSO's playing and Oramo's direction; and about the faultless solo work from principal trumpet and trombone in the Mahler, complementing the bravura solo horn playing noted above - Martin Owen filled the hall with his shining, full tone. Masterful. And en masse, all the wind and brass sections excelled themselves. Clarinets and horns seemed to have their bells in the air more often than not. And Oramo is more than ever one of my favourite conductors of the moment.

Again though, half a dozen of the quieter glories in the Mahler were obliterated by precisely timed, perfectly absurd and selfish uncovered coughs. (It occurred to me it may be another downside of the RAH - unlike any other hall, once is faced by half the audience, and side-on to a good proportion of the remainder, so that at least one if not both ears take incoming from the moronic pseudo-bronchitics in a way that doesn't happen elsewhere...)

[Cockney Sparrow]

I agree with you Caliban. We were seated pretty close to the Double Basses and behind the 'cellos. It was a great evening. The BBC SO were so physically engaged in the Mahler, and yes they seemed very happy and looking at Oramo he was very encouraging and happy too, The playing of the principals in the brass and woodwind and the sections as a whole were flawless and full of expression (and yes the principal Horn was superb! (and the trumpet principal too). In fact all sections of the orchestra were on fire and it was just a wonderful evening.... (which is similar to the Kullervo performance in the 2015 season which I still replay from time to time). And yes, like having Pappano at Covent Garden, we are lucky to have Oramo with the BBCSO.

(And I'll have to listen the the Bray a couple of times more, I can't pass comment on new music until I am more familiar with it...)

As to the coughing, it was intrusive but I feared it would get even worse which didn't seem to happen. As the symphony progressed, though, I was more bound up in the performance. On a positive note there was a family with two 8/9 year olds a few seats away and they were impeccably behaved throughout (more so than many a mature adult I have sat near) I imagine it was an overwhelming experience for them - they had a grandstand view of the conductor and orchestra in full flight.

[gedsmk]

Can't make comparisons for the Haydn as I have never heard it live until now, but the combination with the Mahler was a good "warm up" (regarding string tone) for the Adagietto later in the evening.
This performance (of ones I've heard live in the concert hall) was up there in terms of achievement with the RPO (Gatti) in 2002, and the Philharmonia (not a Prom, Gatti) in 2012. While just missing the febrile excitement in the last movement that Gatti encourages, the whole symphony gave us a powerful picture of Mahler's vision of the human predicament of suffering and pain along with love and finally, joy. Oramo clearly is a treasure for this orchestra and the BBC need to keep him here as long as possible. The trumpet, trombone and French horn solos were world-class, lyrical and nerveless. Bags of character in the woodwind (though the poor clarinettist had a bit of buzz in the reed that he did his best to conquer).

Listening now on I-player, simply gorgeous!
This has to be a "Legendary recording", if it werent for the coughs!

[Nick Armstrong]

Oramo clearly is a treasure for this orchestra and the BBC need to keep him here as long as possible. The trumpet, trombone and French horn solos were world-class, lyrical and nerveless.

Precisely !

[antongould]

Some gorgeous reviews one and all iplayer here I come .....

[Petrushka]

Agree with the excellent reviews of the Mahler 5. The BBCSO sounds a completely different band under Sakari Oramo and the Mahler was much better than I'd expected, one or two fluffs aside. The description of the players being 'physically engaged' tells you all you need to now about the positive relationship they have with Oramo. The BBCSO has often had the reputation of being a 'difficult' orchestra but in Oramo they seem to have found the ideal chief conductor. The evidence is there to hear.

The ridiculous amount of coughing was clearly audible on the radio. It really is about time that the RAH management made an announcement before the concert either via the PA system or from the stage if necessary in an effort to minimise the disruption it causes. The Katie Dereham announcement over the PA system re mobile phones needs a revamp anyway as her throwaway delivery of it makes it sound like she thinks it a joke which, in reality, I'm sure she doesn't.

I feel a letter coming on...

[edashtav]

Agree with the excellent reviews of the Mahler 5. The BBCSO sounds a completely different band under Sakari Oramo and the Mahler was much better than I'd expected, one or two fluffs aside. The description of the players being 'physically engaged' tells you all you need to now about the positive relationship they have with Oramo. The BBCSO has often had the reputation of being a 'difficult' orchestra but in Oramo they seem to have found the ideal chief conductor. The evidence is there to hear.
[...]
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Yes, the Mahler was wonderfully played and expertly conducted. Mahler added so many detailed instructions to his scores and I felt band and conductor were as one in their brave attempts to realise what had been written.
As others have said, the combination of Oramo and the BBC SO needs to be preserved and extended for the musical good of our nation.