Prom 60: 30.08.16 - Gustav Mahler Jugendorchester

[Bax-of-Delights]

I'll catch up on Iplayer later today but I did notice that on the TV digital at 7.30 p.m. the BBC was describing last night's programme as works by "Bach and MAHLER". I thought perhaps I had tuned in on the wrong day...

[underthecountertenor]

I admire Christian Gerhaher, and love his voice, but I'm afraid didn't enjoy his interpretation of Ich Habe Genug. It sounded effortful, ill-at-ease and at times hectoring, very much at odds with the text (which SMP chose for some reason not to summarise in advance, though she clearly had plenty of time to do so - preferring to talk repetitively about GMJ's schedule).

I think I'll listen to Lorraine Hunt Lieberson again tonight, by way of a corrective (no great hardship there!)

[Rasluap]

I seem to be alone in remaining unmoved by the Bruckner performance last night. Granted the orchestra's spirited and efficient playing but from my vantage point (right hand side at front of arena) I found this the least satisfying performance of this great symphony at the Proms in recent years.

The account by Herbert Blomstedt with the same orchestra in 2010 - in a far more generous concert which included Hindemith "Mathis der Maler" and Mahler's "Lieder eines fahrenden gesellen", coincidentally also with Christian Gerhaher - was far more sympathetic.

For some reason, Philippe Jordan crammed the brass section to the left and centre of the platform alongside the massed double basses, leaving the higher sections of the right hand side empty. It's not easy for any orchestra unfamiliar with the hall's acoustics to master them on a one-night stand, but I longed for quieter playing where appropriate to allow the music to breathe. We only achieved this in the last minute or two of the performance.

So I won't be looking out for more Bruckner performances from Jordan despite his efficient technique and the commitment of his players, not that he is a regular visitor to London these days.

[Nick Armstrong]

Just heard that the Rt Hon Theresa May MP was in the audience for this one...

[underthecountertenor]

Just heard that the Rt Hon Theresa May MP was in the audience for this one...

Yes. The BBC mics just about picked her up in the first half repeatedly murmuring 'Bruckner means Bruckner, and we're going to make a success of it.'

[ferneyhoughgeliebte]

Yes. The BBC mics just about picked her up in the first half repeatedly murmuring 'Bruckner means Bruckner, and we're going to make a success of it.'

Earlier in the season, of course, she thought Boris Goodenuff.

[Prommer]

Just heard that the Rt Hon Theresa May MP was in the audience for this one...

Excellent. Well, she does like cathedrals (vicar's daughter) and mountains (keen hiker)... so Bruckie can't be far behind.

Unless she came for the Bach?

Both pieces may have caused her to reflect on political death.

[bluestateprommer]

What a fantastic orchestra! Three cheers too to the Proms Audience for respecting the silence at the end. Have not seen this conductor before - he is not afraid of the sacred silences in this piece, Deo Gratias.

Yes, on a sheer technical level, the current version of the GMJO is a terrific ensemble. In the scherzo, just as one example, to watch all the string players moving in unison with the slashing motions in the pounding rhythms, both down-bowing and up-bowing, and at the risk of using an inappropriate metaphor, you could send this orchestra to war, so to speak, so unified were the string players. There was maybe just one obvious brass blip at one point, but that was it. This is in light of the fact that Bruckner is one of my personal blindspots, and thus is far from my favorite composer. But plans changed during the day and I decided to give this Prom a go. Not a full house, to be sure, with enough open real estate such that BSP decided to give his legs a rest for the Bruckner. (Don't tell anyone else that ) But the audience was indeed very respectful of the silences both between movements and at the end.

The JSB was OK, but I also confess that I'm not a JSB aficionado. I'd actually heard BWV 82 in Santa Fe just last month, with a female voice (Kelley O'Connor), which was certainly a contrast, besides for the obvious reasons of timbre. For the record, the strings were slimmed down to 6:4:3:2:1, plus the organ and the separate oboe plays.

At the very end, it was cute to see various groups within the GMJO get their pictures taken on the RAH stage.

[P. G. Tipps]

... Bruckner is one of my personal blindspots, and thus is far from my favorite composer ... The JSB was OK, but I also confess that I'm not a JSB aficionado.

Apart from that you had a really super evening ..?

[Daniel]

I admire Christian Gerhaher, and love his voice, but I'm afraid didn't enjoy his interpretation of Ich Habe Genug. It sounded effortful, ill-at-ease and at times hectoring, very much at odds with the text

That's a fairly exact expression of what I felt too. He's so good in everything I've heard so far from his Art of Song set (along with his excellent accompanist Gerold Huber) that it was surprising to hear him sounding so awkward. Though I've only heard lieder from the set so far.