Prom 4: Shostakovich’s ‘Leningrad’ Symphony - 16.07.18

**BBMmk2** · 18-07-18, 16:46

I have only heard the first movement to the symphony. So far I am rather impressed. Be looking forward to see if Juano Mena does more of Shostakovich's music. It certainly proved a very worthwhile listen. Had the core of what the composer wanted to say. A very illuminating interval talk in the interval, which was what I was hoping for. Although I already knew the history and the development of this work, hearing experts in the field, is always quite interesting to hear.

**Beef Oven!** · 18-07-18, 16:51

Originally posted by Flay View Post

I don’t think you’re being fair, Beefy (or should I say fare?) The quote is Brahms’ own

The Compleat Conductor

https://books.google.co.uk/books?id=_Y75UG3XesAC&pg=PA354&lpg=PA354&dq=%22+Das+bemerkt+ja+schon+jeder+Esel%22&source=bl&ots=k7mDUQ4XPL&sig=82AgQcH6z2LnLCQd7MZRnxt4ljI&hl=en&sa=X&ved=2ahUKEwilnaT4iKncAhVCLcAKHRn1AJQQ6AEwAXoECAEQAQ#v=onepage&q=%22%20Das%20bemerkt%20ja%20schon%20jeder%20Esel%22&f=false

A world-renowned conductor and composer who has lead most of the major orchestras in North America and Europe, a talented musician who has played under the batons of such luminaries as Toscanini and Walter, and an esteemed arranger, scholar, author, and educator, Gunther Schuller is without doubt a major figure in the music world. Now, in The Compleat Conductor, Schuller has penned a highly provocative critique of modern conducting, one that is certain to stir controversy. Indeed, in these pages he castigates many of this century's most venerated conductors for using the podium to indulge their own interpretive idiosyncrasies rather than devote themselves to reproducing the composer's stated and often painstakingly detailed intentions.Contrary to the average concert-goer's notion (all too often shared by the musicians as well) that conducting is an easily learned skill, Schuller argues here that conducting is "the most demanding, musically all embracing, and complex" task in the field of music performance. Conducting demands profound musical sense, agonizing hours of study, and unbending integrity. Most important, a conductor's overriding concern must be to present a composer's work faithfully and accurately, scrupulously following the score including especially dynamics and tempo markings with utmost respect and care. Alas, Schuller finds, rare is the conductor who faithfully adheres to a composer's wishes. To document this, Schuller painstakingly compares hundreds of performances and recordings with the original scores of eight major compositions: Beethoven's fifth and seventh symphonies, Schumann's second (last movement only), Brahms's first and fourth, Tchaikovsky's sixth, Strauss's "Till Eulenspiegel" and Ravel's "Daphnis et Chloe, Second Suite." Illustrating his points with numerous musical examples, Schuller reveals exactly where conductors have done well and where they have mangled the composer's work. As he does so, he also illuminates the interpretive styles of many of our most celebrated conductors, offering pithy observations that range from blistering criticism of Leonard Bernstein ("one of the world's most histrionic and exhibitionist conductors") to effusive praise of Carlos Kleiber (who "is so unique, so remarkable, so outstanding that one can only describe him as a phenomenon"). Along the way, he debunks many of the music world's most enduring myths (such as the notion that most of Beethoven's metronome markings were "wrong" or "unplayable," or that Schumann was a poor orchestrator) and takes on the "cultish clan" of period instrument performers, observing that many of their claims are "totally spurious and chimeric." In his epilogue, Schuller sets forth clear guidelines for conductors that he believes will help steer them away from self indulgence towards the correct realization of great art.Courageous, eloquent, and brilliantly insightful, The Compleat Conductor throws down the gauntlet to conductors worldwide. It is a controversial book that the music world will be debating for many years to come.

so it was clever of JLW to use it. I have sinned many a time on these boards with silly quips, but I think Jane has a point on this occasion.

Just because you think it was clever, does not mean it was appropriate. It put me off, but I didn't complain.

We must be consistent about these things.

I wrote 'fare' instead of fair some days ago. And you think it's funny to point it out (again)?

**Flay** · 18-07-18, 18:14

OK, apologies for that. Now let’s get on with the Proms!

**ferneyhoughgeliebte** · 18-07-18, 18:47

Originally posted by Flay View Post

OK, apologies for that. Now let’s get on with the Proms!

Indeed.

My apologies to everyone for any inconvenience caused.

**cloughie** · 18-07-18, 18:56

Originally posted by ferneyhoughgeliebte View Post

Indeed.

My apologies to everyone for any inconvenience caused.

As Jayne’s quote was in German we probably have to concede on penalties!

**gedsmk** · 18-07-18, 19:02

Originally posted by Rcartes View Post

Thank you for this detailed review, Jayne. I was there for the concert but didn't rate the performance at all; my particular bugbear was the first movement, where, rather than the snare drum being "a shade too loud at first," it was deafening and varied very little through the performance: no sense of the subtle opening gradually increasing in intensity to, as you said, Nielsen-like levels. Altogether, rather crude and very disappointing.
.

From my seat in RH stalls the snare totally drowned out the strings at the start of that section. Was that the conductor’s suggestion or a significant mechanical malfunction, I wonder? Didn’t work IMHO. On the broadcast the effect was not as bad.

**Beef Oven!** · 18-07-18, 19:33

Originally posted by ferneyhoughgeliebte View Post

Indeed.

My apologies to everyone for any inconvenience caused.

Prom 4: Shostakovich’s ‘Leningrad’ Symphony - 16.07.18

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