Prom 1: First Night of the Proms - 13.07.18

[Nick Armstrong]

Strauss's near-quotation at the opening of "Don Juan" of the start to Mendelssohn's "Italian Symphony".

We could almost start a thread on this!

Another one I missed!

Let's start one then....

[Petrushka]

I do wonder what some of these new commissions are intended to be for. A piece by Birtwistle, for example, is obviously expected (whatever its subsequent fate) to be a serious contribution to the contemporary repertoire.

Anna Meredith composed a work for the Ten Pieces a couple of years back - good fun for groups of kids to perform. Was this piece intended simply to be an 'interesting' new work for the (young?) First Nighters, including those tempted in by The Planets? Or an an act of encouragement sponsorship for a younger generation of composers? Or what?

The Meredith was intended as a 'response to the First World War', according to the Proms Guide, and 'draws on communications sent by young soldiers in 1918' and was clearly meant to be seen as a commemoration work in this of all years. As I said above, composers need to tread carefully in dealing with what is still an emotive subject so I expected something with substance and gravitas rather than a glorified disco. A disappointing failure and a missed opportunity.

[Keraulophone]

I am also quite at home with not applauding a perfromance I do not think up to par.

Such open judgement is rarely seen nowadays, especially at the Proms, and more especially by the Prommers in the arena, who don't seem to mind listening to anything as long as it only costs them six quid. (They can do what they like in the gallery and no one will know.) The musicians can't be clear whether a lack of applause is a comment on the music itself or their performance of it, particularly in new repertoire.

Boos in the opera house straight after the final note of music are usually directed at the producer/director rather than the musicians, who receive the following cheers and applause.

I'd like to see greater discrimination by audiences, especially at the Proms, when they make a well-informed choice to demonstrate their personal approval of music and/or performance or not.

[Serial_Apologist]

Another one I missed!

Let's start one then....

[jonfan]

The Meredith was intended as a 'response to the First World War', according to the Proms Guide, and 'draws on communications sent by young soldiers in 1918' and was clearly meant to be seen as a commemoration work in this of all years. As I said above, composers need to tread carefully in dealing with what is still an emotive subject so I expected something with substance and gravitas rather than a glorified disco. A disappointing failure and a missed opportunity.

Glorified Disco? I saw no one attempting to dance instead many intense faces concentrating on the music and visuals. My teenager contacts thought it very moving and using contemporary art forms to communicate the pity and futility of war. We shouldn’t expect another piece in the commemorative traditions of Elgar, VW and Britten, for example. Well done to Ann Meredith and team in breaking new ground with, IMHO, an opportunity grasped with great success in tackling an emotive subject that grabs the attention of modern youth, because it's with them that the human cost of world wars will be remembered in future years.

[Il Grande Inquisitor]

I was there in the Hall on the First Night (and in Kensington Gardens the night before) and was thoroughly impressed by Anna Meredith's new work.

https://bachtrack.com/review-prom-1-five-telegrams-meredith-oramo-bbcso-london-july-2018

[french frank]

I was there in the Hall on the First Night (and in Kensington Gardens the night before) and was thoroughly impressed by Anna Meredith's new work.

https://bachtrack.com/review-prom-1-...ndon-july-2018

A detailed critique is harder to dismiss than a few curt lines and provides more to think about - so thanks for that, IGI (typo of 2016 for 1916, btw).

[Il Grande Inquisitor]

Thanks, ff (and for spotting the typo!).

[Boilk]

Well done to Ann Meredith and team in breaking new ground with, IMHO, an opportunity grasped with great success in tackling an emotive subject that grabs the attention of modern youth, because it's with them that the human cost of world wars will be remembered in future years.

In a nutshell that's it ... it "grabs the attention of modern youth", accustomed as much "modern youth" is to 3- or 4-minute musical episodes comprised mostly of punter-friendly soundbites. All of Meredith's music that I've heard to date is essentially vertically-conceived, attention-grabbing rhetoric: designed to have an immediately impressive effect. Imagine a fast-food burger - somewhat gratifying as you bite into it and taste the artificially-enhanced flavours, but long-term hardly nutritious.

As such, Meredith will probably go far in the current climate of dumbed-down contemporary classical.

[cloughie]

In a nutshell that's it ... it "grabs the attention of modern youth", accustomed as much "modern youth" is to 3- or 4-minute musical episodes comprised mostly of punter-friendly soundbites. All of Meredith's music that I've heard to date is essentially vertically-conceived, attention-grabbing rhetoric: designed to have an immediately impressive effect. Imagine a fast-food burger - somewhat gratifying as you bite into it and taste the artificially-enhanced flavours, but long-term hardly nutritious.

As such, Meredith will probably go far in the current climate of dumbed-down contemporary classical.

I can tell you’re a fan then Boilk!

[Serial_Apologist]

In a nutshell that's it ... it "grabs the attention of modern youth", accustomed as much "modern youth" is to 3- or 4-minute musical episodes comprised mostly of punter-friendly soundbites. All of Meredith's music that I've heard to date is essentially vertically-conceived, attention-grabbing rhetoric: designed to have an immediately impressive effect. Imagine a fast-food burger - somewhat gratifying as you bite into it and taste the artificially-enhanced flavours, but long-term hardly nutritious.

As such, Meredith will probably go far in the current climate of dumbed-down contemporary classical.

[LMcD]

I can tell you’re a fan then Boilk!

If Bolik's a fan then I guess I must be too! The visual effect was certainly impressive, but sadly after a while it was very much a case of familiarity breeding contempt.

[jonfan]

In a nutshell that's it ... it "grabs the attention of modern youth", accustomed as much "modern youth" is to 3- or 4-minute musical episodes comprised mostly of punter-friendly soundbites. All of Meredith's music that I've heard to date is essentially vertically-conceived, attention-grabbing rhetoric: designed to have an immediately impressive effect. Imagine a fast-food burger - somewhat gratifying as you bite into it and taste the artificially-enhanced flavours, but long-term hardly nutritious.

As such, Meredith will probably go far in the current climate of dumbed-down contemporary classical.

Only just noticed these insights into modern youth attention span. A ‘modern youth’ of my aquaintance sat through Wagner’s Ring and a senior friend of mine thought Stanford’s Blue Bird interminably a boring 5 minutes. Not fair to generalise! Just wondered what else is ‘dumbed down contemporary classical’. Possibly Schoenberg with his very short pieces consisting of just a few notes and over in a few minutes? Not much to detain us here.

[Bryn]

Only just noticed these insights into modern youth attention span. A ‘modern youth’ of my aquaintance sat through Wagner’s Ring and a senior friend of mine thought Stanford’s Blue Bird interminably a boring 5 minutes. Not fair to generalise! Just wondered what else is ‘dumbed down contemporary classical’. Possibly Schoenberg with his very short pieces consisting of just a few notes and over in a few minutes? Not much to detain us here.

I bet there were not a few 'modern youths' at the TtN Feldman SQ2 at the Tate Tank some 19 months ago, too. All the tickets had gone by the time I was advised of their 'availability'.