Prom 17: Parry, Vaughan Williams & Holst – 27.07.18

[ferneyhoughgeliebte]

'Trailer trash' - brilliant!

[LMcD]

He was very good PT. never over doing it like a lot seem to do these days. I think he’s one of the best in recent years.

Living proof that you don't have to be confrontational or controversial or sensationalist in order to interest people in the proceedings.
(I didn't notice any of the gasps that are said, by some, to afflict his announcements....)

[Pabmusic]

I've just read a review of the concert in The Arts Desk (theartsdesk.com) which included this:

"Parry was the most accomplished British symphonist of the 19th century, but the Fifth (“Symphonic Fantasia”) does him no favours. Of his five symphonies, this is the only one that has been performed previously at the Proms, as recently as 2010. It is a late work, written in 1912, with an unusual structure of four joined but elided movements. But it has none of the melodic charm of the Second or Third Symphonies, or the dramatic impetus of the Fourth. So programming the Fifth in 2010 was a curious choice, programming it again just eight years later is utterly perplexing – unless the BBC just had the parts to hand."

Now, I agree with this (though I'd not go as far as to say the 5th does Parry no favours - rather, it's not the one to cut your teeth on). The point about repeating the same piece twice in eight years, when none of the others has appeared at the Proms is a good one. I'd have opened with the English (3), but no. 4 would also have been fine.

[LMcD]

The 'Classical Source' website includes a fairly comprehensive review. (I tried posting the link but it came up with the dreaded '404'message)

[ferneyhoughgeliebte]

Ooooooooooooh! The Fifth was "the one I cut my teeth on", Pabs (well, apart from Jerusalem and I'll Be Glad if You'll Be Frank), and I still think it's streets ahead of the other four, quite fond of them as I am (especially the Third) - if relative merits are to be the judge, I'd programme the Fifth several more times before introducing any of the others. I was so impressed by the Fifth that it took several listenings to the others before I could get rid of my sense of disappointment. I presume, though, that this isn't what you mean by hearing the others first?

[ferneyhoughgeliebte]

The 'Classical Source' website includes a fairly comprehensive review. (I tried posting the link but it came up with the dreaded '404'message)

I noticed that, LMcD - see if this is any better:

http://www.classicalsource.com/db_control/db_prom_review.php?id=15650

[Pabmusic]

Ooooooooooooh! The Fifth was "the one I cut my teeth on", Pabs (well, apart from Jerusalem and I'll Be Glad if You'll Be Frank), and I still think it's streets ahead of the other four, quite fond of them as I am (especially the Third) - if relative merits are to be the judge, I'd programme the Fifth several more times before introducing any of the others. I was so impressed by the Fifth that it took several listenings to the others before I could get rid of my sense of disappointment. I presume, though, that this isn't what you mean by hearing the others first?

No, of course not. My introduction was the third, which I thoroughly enjoy (though the last movement does go on a bit (esp. as Parry keeps it in C major till the last 2 minutes or so!). The second I heard was the Fifth, and I love it, but I was never as succesful at converting others with the Fifth.

I have conducted the Third, too, which probably makes a difference.

[ferneyhoughgeliebte]

I love it, but I was never as succesful at converting others with the Fifth.

Ahh!

I have conducted the Third, too, which probably makes a difference.

Oh, lucky you! The only Parry I've ever conducted in a concert is the Blest Pair.

[Pabmusic]

..Oh, lucky you! The only Parry I've ever conducted in a concert is the Blest Pair.

Best Pair of Nylons.

I've also done the Symphonic Variations and music from The Birds. Here it is (much better than I did it - but it is edited by me!):

https://m.youtube.com/watch?v=LOVdJqrctac

[ferneyhoughgeliebte]

Best Pair of Nylons.

- I thought of typing that, but then decided that with Glad/Frank I'd used up my ration of title Parrydies for one Thread!

And I do see what bsp means - the Parry Fifth doesn't have the sort of immediately-attention-grabbing gestures of - well, the opening of RVW's Lark (or his Pastoral for that matter): it's a slower burner, and takes a few hearings for its individual strengths and wonders to creep under the skin. But it is SO worth that extra perseverance - and far rather that than the instant gratification and subsequent disillusion of many another work.

[Pabmusic]

... it's a slower burner, and takes a few hearings for its individual strengths and wonders to creep under the skin. But it is SO worth that extra perseverance - and far rather that than the instant gratification and subsequent disillusion of many another work.

I'd say that was spot on ... [so why don't you? ... Oh, all right ...] ... That was spot on, Ferney.

[hmvman]

And I do see what bsp means - the Parry Fifth doesn't have the sort of immediately-attention-grabbing gestures of - well, the opening of RVW's Lark (or his Pastoral for that matter): it's a slower burner, and takes a few hearings for its individual strengths and wonders to creep under the skin. But it is SO worth that extra perseverance - and far rather that than the instant gratification and subsequent disillusion of many another work.

I'll definitely be giving it another listen or two.

[hmvman]

RE. Last night's prom: Maybe I've picked up the wrong innuendo about 'TLA' but I still think that Tia Murray's performance / interpretation was absolutely wonderful, to the extent that it made me think about it all over again ! Last night until about 3 am I was dragging out old LPs of e.g. Hugh Bean, Iona Brown, Pinchas Zukerman ( who sight-read it 'with the recording light on' with Barenboim/ ECO about 45 years ago.. I remember that very clearly, as I was playing in the orchestra) and also the old Sargent /RLPO 78s CD transfer with David Wise, plus a lovely 'without Szell' Cleveland recording with Druian as soloist, conducted by Louis Lane. Last night it was a real 'shot in the arm' to hear a fresh take on this now rather hackneyed piece.

I agree, Tony. I was hooked by this performance right from the very start. I did wonder if, with Tai Murray being American and, as she said in the TV interview, the work is not so widely played in the US, she was able to play it without any of the emotional 'baggage' that British soloists inevitably have and thus bring something new to it.

[LMcD]

I noticed that, LMcD - see if this is any better:

http://www.classicalsource.com/db_co...w.php?id=15650

Yes, that works thanks. (Not for nothing did I seriously consider joining the Forum under the name 'Technoprat'...)

[pureimagination]

Just a note to the nay-sayers about this Prom. I attended the Prom of all British music [except for the violinist's encore] because I happen to enjoy the work of the composers featured. The fact that they were all late 1800's to early 1900's appeals to me because I believe that some of the greatest 'classical' pieces were composed in this period. The Lark Ascending complements Symphony No.3 (Pastoral) perfectly and I certainly don't believe it was cynically included to push up the number of seats sold. I'm trying to ignore the comments about cowpats but I can't because they were just stupid. I listen to 'classical' music from all periods and from all parts of the world, and I listen to music of other genres from 1930's dance bands to film soundtracks to hip hop but I don't feel the need to need to tell others what to like and certainly don't see music as competitive - 'this is better than that' or because it was written in a certain period it is somehow less deserving of praise. I like a lot of music I hear and don't like some and will gladly enthuse over a piece of music or a particular performer/performance but don't feel it necessary to constantly pick holes (as some on this forum have seem to have chosen as their primary role). Prom 17 was a delight from where I sat in The RAH. Thank you to all those musicians who were involved. And thank you to RVW, Parry & Holst for the great works you have given us.