Prom 44: Debussy, Ravel & Boulanger – 15.08.18

[bluestateprommer]

Good start to this Prom with Debussy's Prélude à l’après-midi d’un faune, with a nice shout-out from Martin Handley to CBSO principal flute Marie-Christine Zupancic. Interestingly, Ludovic Morlot is the second conductor to mention Lili Boulanger in comparison to Berlioz, after Edward Gardner's similar comment this past weekend.

[Beef Oven!]

Ear infection, deaf in left ear and I didn't feel up to going. Listening at home.

What a wonderful work the Boulanger is.

[bluestateprommer]

On another subject, the Boulanger is extraordinary - it was performed last week at the Three Choirs Festival. It definitely benefits from a live hearing, and I would encourage anyone who can to attend this concert.

From hearing this live relay, I can well imagine that it makes much more overwhelming of an impact live (like any great piece of music, to be sure). Even through limited earbuds, the massive moments make quite an impact. MH also mentioned CBSO Chorus member Ed Harrison, who sang the tenor solo in response to Justina Gringytė.

Regarding LM, I saw that the BBC Philharmonic has engaged him for 2 concerts next season. Perhaps this is a test-run for the post of BBC Philharmonic chief conductor....

[jayne lee wilson]

Ear infection, deaf in left ear and I didn't feel up to going. Listening at home.

What a wonderful work the Boulanger is.

(Sorry for that Beef... under the (grey!) weather myself tonight, sleep intermittent, bad head...)...day follows night follows day follows...

**
I believe that's my first ever encounter with the Boulanger De Profundis... very, very impressive - such depth, range, imagination...."unpredictable inevitability.."
So we praise the lament, and lament what might have been.....

first it giveth, then it taketh away

[Beef Oven!]

(Sorry for that Beef... under the (grey!) weather myself tonight, sleep intermittent, bad head...)...day follows night follows day follows...

**
I believe that's my first ever encounter with the Boulanger De Profundis... very, very impressive - such depth, range, imagination...."unpredictable inevitability.."
So we praise the lament, and lament what might have been.....

first it giveth, then it taketh away

My first encounter too. Ive only heard her chamber/instrumental works. I shall look further into her works.

Morlot seems on form, as usual. Looking forward to the second half.

I will investigate that Morlot recording you link to, down thread.

[Bryn]

My first encounter too. Ive only heard her chamber/instrumental works. I shall look further into her works.

Morlot seems on form, as usual. Looking forward to the second half.

I will investigate that Morlot recording you link to, down thread.

Best to use jlw's link to get to it on QOBUZ. Searching for "Morlot" on QOBUZ did not do the trick.

[bluestateprommer]

Fine reading of the Debussy Nocturnes just now. Rather clever connection to put this on the same program as Boléro, since "Fetes" also has a crescendo with a side-drum solo.

[Beef Oven!]

Best to use jlw's link to get to it on QOBUZ. Searching for "Morlot" on QOBUZ did not do the trick.

I just downloaded the Igor Markevitch recording from Qobuz.

I located the Morlot on Qobuz a few days ago from Jayne's link.

[Beef Oven!]

Fine reading of the Debussy Nocturnes just now. Rather clever connection to put this on the same program as Boléro, since "Fetes" also has a crescendo with a side-drum solo.

Yes, I was thinking that too.

[Beef Oven!]

Great concert, but I thought the Bolero was tame. Led by the drummer, not the conductor. Where's John Bonham when you need him!

Actually, forget Bonzo - a drummer with a bit of swing was all that was needed.

[bluestateprommer]

Timed it; just about 14 minutes and 50 seconds. One small snag, which seems to have become standard practice (here in the USA, to be sure), is that the saxophonist indulged in a bit of glissando where s/he shouldn't have. I'm kind of a purist that way in that the first glissando has to be from the trombonist, a complete surprise out of nowhere. But it is what it is, as the new cliche goes. MH identified Adrian Spillett as the side drum soloist, with apologies if he was mistaken; will be nice to have confirmation one way or the other. MH also mentioned that the young ladies of the CBSO Youth Choir stayed in their places for Boléro. It would be interesting to know how it sounded from their perspective.

Over the years, I've realized that the very best place to hear Boléro is from the balcony section, preferably as far back as optimal sound permits. It allows you to watch the orchestra grow and grow, in both size and volume, until you think that there's nothing more to be done, and then Ravel pulls one last rabbit out of the hat at the end with the percussion (after the sudden key change). No recording, however, good, can convey that visual sense.

[edashtav]

Fine reading of the Debussy Nocturnes just now. Rather clever connection to put this on the same program as Boléro, since "Fetes" also has a crescendo with a side-drum solo.

Well spotted!

[BBMmk2]

I thought Boléro was rather tame as well. Yes, certainly led by the drummer, despite what the conductor said beforehand!

Apart from that, a very good Prom!

[jayne lee wilson]

Despite my poor concentration tonight, I soon came to appreciate the classically French timbres Morlot drew from the CBSO in the Nocturnes…delicate, blended water-colour greys and blues in a lovely vaporous Nuages; light and crisp attack, but with a bigger punch at the height of the Fêtes. (I’ve heard Fêtes sound more viscerally thrilling than this, but that characterisation would have been out of place, unidiomatic here).

This reading really came into focus in the Sirens - by going a little out-of-focus: those colourwash effects of winds and strings around the light, delicate chorus were always clear, but genuinely impressionistic, not too sharply drawn, which can spoil the effect.
(One recalls Debussy wanting the orchestra to sound as if backlit, apropos of Pelleas)….

Chaste but sensuous, beautifully-proportioned performance from French-specialist Morlot (which sounded even better the second time, just now…gorgeous )

[Beef Oven!]

Despite my poor concentration tonight, I soon came to appreciate the classically French timbres Morlot drew from the CBSO in the Nocturnes…delicate, blended water-colour greys and blues in a lovely vaporous Nuages; light and crisp attack, but with a bigger punch at the height of the Fêtes. (I’ve heard Fêtes sound more viscerally thrilling than this, but that characterisation would have been out of place, unidiomatic here).

This reading really came into focus in the Sirens - by going a little out-of-focus: those colourwash effects of winds and strings around the light, delicate chorus were always clear, but genuinely impressionistic, not too sharply drawn, which can spoil the effect.
(One recalls Debussy wanting the orchestra to sound as if backlit, apropos of Pelleas)….

Chaste but sensuous, beautifully-proportioned performance from French-specialist Morlot (which sounded even better the second time, just now…gorgeous )

Despite deafness in the left ear and a concoction of antibiotics and 50% alcohol level duty free Raki, I thought the Sirens was the best Ive ever heard it done, ever - recording or live.

Totally agree Jayne, Sirens was the epicentre (is that what I mean? )