Prom 37 - 13.08.17: Rachmaninov – Piano Concerto No. 3

[Nick Armstrong]

Had a quick re - run and the piano didn't sound at it's very best I'd agree.
I was being kind when I said I thought it 'romantic'. By that I mean a little too flexible with the rits. Almost a bit micro-managed, hence my preference for a fleeter style.
I remember playing in the college orchestra when we did this with Martin Roscoe and the orchestra members found it a bit of a tedious thing to play, hence my comment. I agreed with them entirely even though the overall effect works well.
If it's any consolation it doesn't come anywhere near the sheer boredom of playing in Howells' Hymnus Paradisi, lord was that a real bore.

I agree totally about the need for a fleeter style in the concerto. And maybe your impression about orchestration came from the very piano-dominant broadcast - only the obvious strokes of the orchestra were audible for large parts, lots of detail went unheard.

Very different story in the symphony - and indeed 'fleet' is the word that came to mind when I was listening.

[bluestateprommer]

Why isn't there more posts on this concert. An absolute stunner!

Oh, give it time :) . That said, TD did very well indeed with Rach 2 in the 2nd half, following the equally fine choral work from the Latvian Radio Choir (about to start up again in a few minutes in their own full right). In the interval feature, David Nice did state the obvious regarding Dausgaard, that "I've noticed that he tends to prefer quicker tempi". While TD certainly didn't wallow in a symphony that seems to invite it, he paced it very well, with plenty of opportunities to breathe naturally in the slow movement. Maybe at a few moments in the finale, TD did push just a bit too much, but such moments were very few. The BBC SSO sounded on strong form, in what struck me overall as the stronger of their two Proms this weekend.

[Petrushka]

How does any normal human being commit the Rachmaninov 3 to memory and then play it to a packed Albert Hall plus TV cameras? Speaking as a non-musician, I just find the whole thing just amazing.

Watching on TV, the Symphony was simply glorious, proof once again that the great Proms performances can frequently come from the most unexpected quarter. The BBCSSO were on world-beating form here, a far, far better orchestra than I heard with Runnicles a few Proms seasons ago. Full marks also to Matthew Woodward for excellent TV direction and the TV sound played through my speakers was thrillingly realistic. A five star evening all round.

[Braunschlag]

Was there a special trumpet, or did the player just play/hold the instrument sideways?

It's a rotary valve trumpet more commonly found in European orchestras, particularly German/Austrian. They seem to creep in over here now. Perhaps a brass specialist might enlighten us more vis a vis sound/advantages etc. I'd be pleased to be enlightened.

[Braunschlag]

I agree totally about the need for a fleeter style in the concerto. And maybe your impression about orchestration came from the very piano-dominant broadcast - only the obvious strokes of the orchestra were audible for large parts, lots of detail went unheard.

Very different story in the symphony - and indeed 'fleet' is the word that came to mind when I was listening.

Excellent symphony, impressive stuff.
I find in many recordings of the 3rd PC orchestral detail does not often cut through very well. It's there in the score but I often wonder that it's difficult to balance piano/orchestra when the solo part is so huge.
It was well-balanced in the symphony, maybe the concerto presented its own challenges to the BBC crew.

[Pulcinella]

It's a rotary valve trumpet more commonly found in European orchestras, particularly German/Austrian. They seem to creep in over here now. Perhaps a brass specialist might enlighten us more vis a vis sound/advantages etc. I'd be pleased to be enlightened.

Thanks; I too would happily be enlightened.
Thoroughly enjoyed the BBC4 transmission.
It was very salutory seeing the amount of energy put into the playing by all concerned, but especially by the poor soloist, who must have lost a kilogram in weight through all the sweat he produced; I guess that the hall was very hot.
I thought that the processing choir at the very beginning was very impressively managed, with the men and women moving when not singing, but did the concerto really start that quickly afterwards or was that a TV edit?

[EdgeleyRob]

Watching the symphony now on BBC4 HD.

Curious about the transparent plastic screens near some players, e.g. woodwind. What are they for? Haven't ever noticed them before.

Health and safety,hearing protection ?

Really enjoyed the concert on tv.
Probably my favourite prom so far.
The concerto sounded great to me,super pianist,he'd make a great gurner.
The symphony was stunning.

[zola]

:
I thought that the processing choir at the very beginning was very impressively managed, with the men and women moving when not singing, but did the concerto really start that quickly afterwards or was that a TV edit?

The concerto really did start that quickly, I'm guessing they wanted to avoid atmosphere shattering applause. Or as in this late night prom, where the coughing keeps being interrupted by all this singing.

[DracoM]

Symphony very fine. Band in fine fettle.
Not sure about the Chorus, I'm afraid. Listening now the the Vespers. Hmm.

[Il Grande Inquisitor]

but did the concerto really start that quickly afterwards or was that a TV edit?

It was a deliberate segue, done to emphasise the similarity between the ancient Znamenny chant “Thy tomb, O Saviour, soldiers are guarding” and the opening piano phrase of the concerto (which it did very effectively).

[Treehorn]

The screens offer some, but not much, protection to the ears from sounds immediately behind a player. Many players are unable to function well when using earplugs so a screen can take the edge off. There are many types of screen, those used at the RAH are pretty basic- some are made of a more sound-absorbing material and some diffuse sound better. Ironically, some brass players don't like players using them because it can reflect their sound back at them.

[LHC]

Individual acoustic screens are usually located around players to help protect them from high sound levels produced nearby. Individual acoustic screens are most effective if placed near to a performer's head. As Treehorn says, the use of personal screens can actually increase the noise exposure for others, so screens should only be introduced in accordance with a professionally completed risk assessment. It is usually considered unacceptable from a H&S point of view to slightly reduce a medium risk (for example, to the performer in front of a screen) by doubling a high risk to the musician playing into the screen (which reflects sound back at the musician).

There are two main types of screen: hard (acoustically reflective, and often transparent) and soft (acoustically absorbent, usually including foam or another absorbent material).

The hard transparent screens seem to be preferred in this country, but I remember seeing the softer screens being used by one of the visiting orchestras last year (possibly the Vienna Phil); one of the second violins appeared to have what looked like a large, cushioned acoustic baffle wrapped round the back of his head.

[Ferretfancy]

Thanks; I too would happily be enlightened.
Thoroughly enjoyed the BBC4 transmission.
It was very salutory seeing the amount of energy put into the playing by all concerned, but especially by the poor soloist, who must have lost a kilogram in weight through all the sweat he produced; I guess that the hall was very hot.
I thought that the processing choir at the very beginning was very impressively managed, with the men and women moving when not singing, but did the concerto really start that quickly afterwards or was that a TV edit?

It wasn't particularly hot in the hall, nothing like as bad as it can sometimes be. I was just in front of the Arena camera platform, and we were asked to make a narrow corridor for the singers. They processed slowly down from the extreme rear stalls stairs, singing all the way.
As they passed us they divided into two streams, the women passing us on the left and the men on the right before exiting at the platform.
The voices were very loud as they passed by, and wonderfully balanced.
The lighting went up, and yes, the concerto did begin at once.

I thoroughly enjoyed the performance, but perhaps it was not for every day. Most of us are lost in amazement that human fingers can do so much!

The Second Symphony was superbly played, the Scottish Orchestra are in top form these days. It's just a personal thing, but I prefer the First and the Third to No. 2, but it is a good wallow!

[marvin]

Have just heard this concerto on the radio without the distraction of the TV. Thought the piano sounded very 'tinny' in the Vocalise.

[Nick Armstrong]

Thought the piano sounded very 'tinny' in the Vocalise.

Glad it wasn't my ears... or my radio!