Prom 1 - 14.07.17: First Night of the Proms

[edashtav]

I don't know whether this is fair, but it made me think of Karl Jenkins.

Oh dear, Mary, that's damning. But, there!s an awful kernel of truth in your comment. To use a software analogy: Jenkins Is a basic "entry level" composer whereas Adams is a full-blown "pro"(fessional), all-singing, all-dancing, with maximum bells and whistles one.

[DublinJimbo]

Worth putting up with KD to see/watch the performers.

Afraid I can't agree. KD should neither be seen nor heard.

Does anyone know what Igor Levit's lapel badge was? Possibly another 'statement', like his encore?

Yes, it was definitely the EU flag.

[Pulcinella]

Afraid I can't agree. KD should neither be seen nor heard.

Ah, but we add our own running commentary, which makes her just about bearable:
Knowing glance, slight sneer, cheeky smirk....
That sort of thing.

Yes, it was definitely the EU flag.

Thought it might have been.

[BBMmk2]

I do t know why people talk about John Adams being like Karl Jenkins. That's adding insult to injury in my book. I thought Edward Gardner directed a very good performance of Harmonium. The Beethoven was very good yes, despite the pianist's political speech, which should have been left out of this night. Why? What was the point? He wasn't on any political programme so why go on about it? Does make me angry.

[Stanfordian]

If we are going to bypass the music and major on for political posturing and virtue signalling by those in the limelight,( and in comfortable state supported positions ) for the next however many weeks, lets remember to discuss, as well as the benefits of the EU , the wider protectionism that is anti free trade, ever increasing wealth and income inequality, support for economic wars outside Europe, support of land grabs by the already wealthy in africa and elsewhere , QE that pours money into the pockets of the big banks, the destruction of the Greek economy, and so on and so on. You know, for balance and and proper discussion. The odd handwringing " Oh yes well we all make mistakes" won't do, really. Art is deeply political, but politics requires tough, uncomfortable engagement.

If politics is the thing, perhaps they could get Corbyn and Cable in for a live on air pre Prom Q and A on how they intend to try to shape change. Now that might actually be interesting.

Igor Levit was engaged to play a piano concerto not to give a political speech! The quit button should have been pressed.

[EnemyoftheStoat]

Igor Levit was engaged to play a paino concerto not to give a political speech!

That's his bread and butter after all.

[ferneyhoughgeliebte]

Sorry?? What "political speech" are people going on about?

[maestro267]

It was the finale of Beethoven 9 long before the EU existed, before people started interpreting it to their own political ends.

[ferneyhoughgeliebte]

It was the finale of Beethoven 9 long before the EU existed, before people started interpreting it to their own political ends.

Well, yeees - although setting "All men shall be brothers" in Metternich's Austria does give a teeny hint that Ludwig himself had his "own political ends"?

But I still don't understand what "political speech" last night was supposed to have spoilt some people's enjoyment of the Beethoven Piano Concerto? The one cited by Cali, that was given last year in Brussels?? And of which they were unaware until Cali posted?

[jayne lee wilson]

PROM 1. COULT/BEETHOVEN/JOHN ADAMS//IGOR LEVIT/BBCSO/PROMS YOUTH CHORUS/SINGERS/GARDNER.
RADIO 3 CONCERT SOUND (FLAC LOSSLESS) VIA FIREFOX.

What impressed me most about this Beethoven was the contrast between the 3 movements: the opening allegro was at first - quick, expressively restrained, dynamics punchy but contained, tempo and phrase on a tight leash; almost preludial in feel.
Levit as per orchestra - crisply articulate, light-toned; a very subtle, natural rubato (until the cadenza when he began, quite dazzlingly, to free himself; the orchestra, inspired, responded.).
I wondered if, as so often, this clipped phrase, shortbreathed HIPPs style approach was a little undermined through the lack of historical instruments themselves and the livelier more colourful timbres and dynamics they bring to the sound. It seemed just a bit po-faced - with a sharply defined interpretative approach, nonetheless.

But the second movement broadened considerably in - fluidity of tempo and phrase, above all in overt emotional expression; orchestral and pianistic rubato, far more intense & wide-ranging. It reached out. A touchingly Romantic performance. (How lovely the last comment, of solo flute and Horn, at the close).

The finale awoke gradually from the dreamy adagio, but soon became quite fiery orchestrally, with emphatic timpani and brass, and constant, lively dynamic variation. Very engaging. Levit’s wide-ranging performance - tempo rubato, wide dynamic - was compelling, fascinating, but always keenly articulated, classically poised, never exaggerated or wilful.
Yes, Gardner was whipping it up, playing to the gallery, especially in the coda - but it was opening night after all, utterly forgivable for being a little OTT.

***
Not quite my favourite Adams piece (my ears are not always happy with choral music, generally, and I wonder at the poetic complexity - or suggestive power - of the chosen texts themselves - do they lend well to a musical setting? As Radio 3 presentation reminded us, Adams did consider a chorally-wordless "setting" instead…) but a very evocative and beautiful one, the Harmonium found sympathetic performers tonight.
This is a tricky piece to balance: but the layers of choral and orchestral detail and counterpoint were kept admirably clear, rhythmic articulation likewise. Clear articulation of the text was impressive too ( at least via lossless Concert Sound, and with the words before me).

Into the Emily Dickinson settings, perhaps choral unanimity could have been better; but live, a work with such delicate, tricky rhythmic coordinations, such a range of attack and articulation, often very quiet, is a huge challenge. In “Wild Nights”, the varying of pace and dynamic was beautifully handled in the large, sympathetic acoustic space, (Gardner’s apt drawing out of the line “were I with thee”, perhaps the key moment in this yearningly unrequited musical and poetical marvel) to create a lovely, atmospheric performance, one I found very fulfilling on its own, challengingly live, opening night terms. How lovely the halo of choral sound before the final fade. In Thee...in thee.... but finally, not to be.

(And returning to the Edo de Wart recording later: Gardner’s live one was not put to shame; held up very well. Losses in precision perhaps; gains in freshness, youthfulness, tension and poetic evocation, especially in the transition to Wild Nights where the youngest, highest voices of the BBC Proms Youth Chorus were quite startling).
***

The broadcast balance via Concert Sound was fine (piano perfectly positioned with the orchestra, chorus spaciously behind it, never overwhelming instrumental detail) maintaining those gains in - 3D space & depth, timbral depth and richness, natural dynamics, and above all that sense of sheer scale - that I’d noted during the trial in April. Low-level resolution in the very soft crescendoing transition to the finale was excellent. The FLAC relays have a free-breathing, open, generous-spirited and relaxed quality which the 320 kbps AAC feed cannot match.

[antongould]

Brilliant Jayne .......

But who is this from ..... ???

"Thinkin' 'bout 1st night. Trif performances. Delicate lucid Beethoven. Tom's new work worth knowing more. Harmonium ' at full pelt a trip." ....... ?????

[Eine Alpensinfonie]

Igor Levit was engaged to play a piano concerto not to give a political speech! The quit button should have been pressed.

As far as I'm aware, he played a Beethoven Piano Concerto, followed by a dignified encore - part of Liszt's transcription of the finale of Beethoven's 9th symphony.

[Eine Alpensinfonie]

Afraid I can't agree. KD should neither be seen nor heard.

The TV broadcast (which I watched on BBC i-Player) has solved a mystery I've been trying to crack for some time.
Who is the nauseating headline writer for the BBC Radio 3 Facebook page?

During this broadcast, KD was using the same annoying phrases/clichés in her concert presentation as the annoying FB headline writer. I would be tempted to put money on the two being one and the same.

But I could be wrong.

[french frank]

"Thinkin' 'bout 1st night. Trif performances. Delicate lucid Beethoven. Tom's new work worth knowing more. Harmonium ' at full pelt a trip." ....... ?????

Bloke who knows a thing or two?

At least BBC News made a feast of it. First time I've read such a long piece about classical music on the Arts & Entertainment page ('course Doctor Who gets the top slot, even though there's no story as yet) …

[antongould]

Bloke who knows a thing or two?
........... …

Indeed more (Radio) three ........