Prom 30 - 7.08.17: Walton – Belshazzar’s Feast

[BBMmk2]

The tempi in all these works sounded rushed to me? In some ways spoilt the enjoyment.

[edashtav]

Part 2:

What a fun and illumining interval discussion! There's nothing like an enthusiastic scholar, such as Irving Finkel. Seven, We Are Seven is Prokofiev at his most Expressionistic and the demands he makes on the "human" tenor are terrific and terrible. David Butt Philip made the wise decision to sing his line rather than yell it with maximum force. For once , the chorus sounded, occasionally , more stretched than the soloist. Up the Revolution! Yes, celebrate it whilst you can he composers and writers, for once the new power is installed, it will be more conservative than what but was replaced. Compare and contrast this ground-breaking piece with Prokofiev's later memorials to the Soviet Revolution. I'm unsure that it was fair to pair this cutting edge work with Willy Walton's essentially conservative, almost - Soviet Oratorio. However, the interpretation started well with great rhythmic energy and expression from the "men" of the the youthful choir. When the full choir entered, there were some moments of uncertain intonation. Nerves settled quickly, particularly after James Rutherford's bluff and confident first entry. However, I was left with the feeling that the Chorus was happier in rhythmic moments than in more reflective, legato passages. Rutherford's unaccompanied recitatives were colourful and robust. The choir's "Praise Ye" response was full-throated, light-footed and convincing. I must record that the National Youth Choir were not as stunning as its orchestral colleagues under Thomas Ades a few nights ago. However, I admired their diction. Did Babylon fall in fast order, or, maybe, disorder? The final Sing Aloud chorus had brio but lacked a sense of culmination. The orchestra peroration was distorted. For this listener, a performance that promised more than it delivered.

( Just to acknowkedge, ferney's robust, and well considered justification of the true originality of Beethoven's Symphony in C. It didn't suit my argument to mention those aspects but my ( ignorance?) is no justification!)

[EdgeleyRob]

Only heard BF,promised more than delivered sums it up for me too Ed.

[ferneyhoughgeliebte]

Only heard BF

Crumbs, Edgey! Careful with the initials there - for a moment I thought I'd missed something!

[ferneyhoughgeliebte]

It sounded harsh, rushed and insincere to me.

Oooh - nononononoNO!!! I'm not sure how a performance can "sound insincere", but the playful insolence, the wit, the cheerful energy of this performance was just right; the arrogant young composer, strutting into the Symphonic tradition - like Brando in The Wild One. Wonderful! Marvellous! Faithfully imaginative and downright jolly good.

[Beef Oven!]

A great gig.

Not up to to JA's N&SM last week, which is the benchmark for this year's Proms, IMHO.

[edashtav]

Crumbs, Edgey! Careful with the initials there - for a moment I thought I'd missed something!

[edashtav]

Oooh - nononononoNO!!! I'm not sure how a performance can "sound insincere", but the playful insolence, the wit, the cheerful energy of this performance was just right; the arrogant young composer, strutting into the Symphonic tradition - like Brando in The Wild One. Wonderful! Marvellous! Faithfully imaginative and downright jolly good.

Spot on, fhg!

[Eine Alpensinfonie]

Oooh - nononononoNO!!! I'm not sure how a performance can "sound insincere", but the playful insolence, the wit, the cheerful energy of this performance was just right; the arrogant young composer, strutting into the Symphonic tradition - like Brando in The Wild One. Wonderful! Marvellous! Faithfully imaginative and downright jolly good.

Naturally I'm please it was a success for many, and the audience seemed more than happy. I just felt that the energy was more technical than sincere, as though caffeine-induced. I sometimes feel the same about Gergiev's performances.

[Beef Oven!]

Naturally I'm please it was a success for many, and the audience seemed more than happy. I just felt that the energy was more technical than sincere, as though caffeine-induced. I sometimes feel the same about Gergiev's performances.

Have you attended many of Gergiev's concerts?

[ferneyhoughgeliebte]

I sometimes feel the same about Gergiev's performances.

I've disliked a lot of Gergiev's performances (I think he relies on the fire of the moment, and often, for me, the sticks are dampened by careless, sloppily under-rehearsed playing) but I'd never describe them as "insincere" - I think he passionately believes that what he's doing is what's necessary for the Music to "live". (And when it does - wow!) I'd reserve "insincere" to describe performances which use the fame of a piece to mount a "spectacle" in which the Music is subservient to the "show". (I'd name names, but I think I'd rieu the day if I did.) I can't imagine that KK's performance last night could ever be described in those terms - but I don't think that that's what you meant by the word?

[Beef Oven!]

I've disliked a lot of Gergiev's performances (I think he relies on the fire of the moment, and often, for me, the sticks are dampened by careless, sloppily under-rehearsed playing) but I'd never describe them as "insincere" - I think he passionately believes that what he's doing is what's necessary for the Music to "live". (And when it does - wow!) I'd reserve "insincere" to describe performances which use the fame of a piece to mount a "spectacle" in which the Music is subservient to the "show". (I'd name names, but I think I'd rieu the day if I did.) I can't imagine that KK's performance last night could ever be described in those terms - but I don't think that that's what you meant by the word?

Performances also exist in the moment. They are a snapshot in time. Gergiev is amazing. Go and see.

[BBMmk2]

I didn't enjoy last night's prom very much. I felt that Kiril Karabit's tempi were too fast and perhaps rushed? The qualityof the playing was affected too. The NYCGB, just about managed alright, bless them.

[rauschwerk]

Well - which previous Symphony has a "Transition"/"Bridge" section in the Exposition that doesn't modulate to the Dominant (as "the basics" make it obvious it should)

Mozart's first, for a start, and probably other early Mozart symphonies too. It seems to have originated with G B Sammartini. Not revolutionary in 1800. then.

[Bryn]

Mozart's first, for a start, and probably other early Mozart symphonies too. It seems to have originated with G B Sammartini. Not revolutionary in 1800. then.

Stirred, not shaken, I think.

Back in 1963, this was my introduction to Sammartini's Symphonies: