Prom 18: Currentzis conducts Beethoven – 28.07.18

[cloughie]

I check the programme first and then who is performing before deciding whether to listen or not, as I’m sure most people on these boards do. Publicity is important out of respect for the artists, and the licence fee payers who subsidise the Proms. Goodness we can’t have Radio 3 becoming popular can we?!
Tonight’s concert seemed to be the composer coming a distant second to the conductor, in contrast to last night’s with MB on the podium. (Glad to fully agree with Tony about tonight and that Ed should actually listen to the ‘hype’ about VW’s Pastoral to know it’s far away from any cow-pat.)

I agree wholeheartedly about publicity being important - just don’t like the naff presentation style!

[oddoneout]

Actually, there were a number of ....ahem.....infelicities in both ensemble and tuning throughout, particularly the 5th.

Well yes, but I've heard worse and, let's face it, that's the difference between live and recorded performances. It reminds me of something my mother came up against occasionally taking various 'music-loving' friends to concerts - the difference between a studio recording and a live performance of a familiar work rarely resulted in a preference for reality, as atmosphere etc didn't outweigh the presence of iffy bits(sometimes just different rather than outright wrong I suspect) or a different balance between parts.

[oddoneout]

Did I hear correctly? Did Tom Service use the term 'woke' in connection with Currentzis' approach to classical music in a trailer /advert for listen again.

[LMcD]

Did I hear correctly? Did Tom Service use the term 'woke' in connection with Currentzis' approach to classical music in a trailer /advert for listen again.

Sorry, can't help you, as I can never understand much of what he's saying. You could 'listen again' on the iPlayer when the show's over!

[Eine Alpensinfonie]

Did I hear correctly? Did Tom Service use the term 'woke' in connection with Currentzis' approach to classical music in a trailer /advert for listen again.

I often miss what he says, not because of his accent, which is clear enough, but because of the mixed-muzak playing in the background.

[Eine Alpensinfonie]

Well yes, but I've heard worse and, let's face it, that's the difference between live and recorded performances.

I think not. Many (or most) live broadcast performances are right up there with most studio recordings. The issue here may just have been a result of the mission to play too fast.

[Eine Alpensinfonie]

So I listened again this morning to hear what was actually performed, and greatly enjoyed it, finding it thrilling, insightful, and life-affirming. In particular, the performance of the Fifth had none of the narcissistic deviations from the score that Gražinytė-Tyla used as a substitute for insight last year, and had much greater gusto and gutso than many a "safer" performance and recording I've heard.

[Lordgeous]

I didnt hear this concert but I've enjoyed some of TC's YouTube clips, especially this one: https://www.youtube.com/watch?v=Ae1IUPHxFzs

[Bryn]

I too have found some Currentzis recordings of considerable merit. My main criticism re. last night's Prom concerns the hype and the failure of the performances to come up (or is it down) to it.

[Lordgeous]

The Guardian's Erica Jeal seemed to enjoy it: https://www.theguardian.com/music/20...m-18-beethoven

[ferneyhoughgeliebte]

I too have found some Currentzis recordings of considerable merit. My main criticism re. last night's Prom concerns the hype and the failure of the performances to come up (or is it down) to it.

[Bryn]

Contrary to what I indicated last night, this morning I decided to 'get_' the iPlayer recording (my earlier audition was via Freeview radio, and thus of rather lower audio fidelity). Having shorn the .aac files of the enthusiastic inter-movement applause (fine at the time of performance but not required when listening again), and finnessing a little quiet RAH anbience imediately prior to the initial attack of the first chord of the 5th, I am listening anew. The infelicities previously mentioned by others notwithstanding, though I still prefer the performances I have heard under Krivine et al, last night's performances are growing on me. I look forward to the release of the 7th they will be recording in Vienna.

[jayne lee wilson]

PROM 18. BEETHOVEN SYMPHONIES 2 & 5. MUSICAETERNA/CURRENTZIS. Radio 3 HDs Live relay.

(Noting some difference of opinion I revisited the 2nd later, but this didn’t change my live impressions very much).

…Which were of a very exciting, high-octane 2nd in its outer movement allegros, contrastingly relaxed and expressive in-between.
First and last were pretty tight for all their extreme pace, with articulation mostly clear and sharp (a few momentary lapses of precision-at-speed; my perception of their frequency didn't increase on a second hearing).
With big dynamic contrasts (pps often at vanishing point), much sforzando-staccato-style sudden or slashing attack, and the very fast, fairly unyielding basic pulse, this even reminded me of Toscanini’s live 1939 NBCSO performance - at least in its first two movements. I noted that Currentzis wasn’t too overwhelming at the 1st movement’s end though; holding some power in reserve for a finale of great speed and impact; my favourite moment, those double-basses chewing away manically in the coda, was thrillingly done.
Like Toscanini, Currentzis had plenty of time for delicacy, sweetness and serenity in the adagio, a nicely flowing, buoyant account, winds pure and clear; but Currentzis was weightier, more moderately-paced, even relaxed and humorous in the scherzo. Subtle dynamic gradations here too. Neither was ever hurried or brusque.
Yes, some listeners may have missed warmth or mellowness, a more obvious tonal gratification in the 1st movement and finale, but on its own terms I enjoyed this inner-outer movement contrast very much; with no obvious mannerisms of phrase, a fairly strict, tight-leash approach to tempi (the reading might have benefited from a subtle rubato here and there) the interpretation was thoughtful, well-conceived.

(Were the timpani in a different position tonight? They sounded a little over-emphatic and occasionally boomy via the HDs relay of the 2nd, which was otherwise impeccable, with some very quiet pps. An acoustically-aware, spacious presentation, the orchestra’s distinctive size and character very clearly and enjoyably relayed).

***
Given their passionate commitment to the project, it seems a little unfair to dwell on a less successful 5th for the Aeterna. (You tour, you have your good and bad nights...)
But despite the apparently exhaustive rehearsals described by the presenter, I had a sense here of a an interpretation not yet fully-formed, an orchestra less sure of itself, more imprecision of ensemble, one-too-many slips and intonation problems to allow my complete immersion in the experience.
Dynamics were less carefully-judged or contrasted than in No.2; the double-bass buzz in the 5th’s finale, more snorting than buzzing, was another distraction.
I enjoyed the rhythmic emphasis on slow-movement accompanying figures, but was disappointed not to hear a scherzo/trio repeat, especially given that we got the finale one; I far prefer the balance of the work with all repeats played (despite the apparent controversy about it).

(In fact the encore - generously, the finale of the 7th, a work they seem to have played more often earlier this year - was brought off with greater panache and polish than the 5th itself…all too obviously, a more lived-in-and-with interpretation, it wasn’t surprising to hear that they’ll soon be recording it).

Their 5th needs more time and interpretational thought. As JEG and others have shown, you can bring off this kind of gunpowder-keg, ultra-heroic, dashing type of live performance (and with all repeats); but the discipline borne of greater familiarity - the muscle-memory, perhaps - has to be there first. They need to show it the love - and after a few more performances, I’m sure they will.

[kernelbogey]

Jayne, thanks as ever for a thoughtful, expressive review.

[Eine Alpensinfonie]

Jayne, thanks as ever for a thoughtful, expressive review.

People like Jayne should be running Radio 3.