Prom 43: Beethoven’s Ninth Symphony - 19.08.19

[Eine Alpensinfonie]

19:30 Monday 19 August 2019
Royal Albert Hall

Jonathan Dove: new work - BBC commission: world première
Dieter Ammann: Piano Concerto - BBC co-commission with the Boston Symphony Orchestra, Konzerthaus Wien, Lucerne Festival, Münchner Philharmoniker and Taipei Symphony Orchestra, supported by Pro Helvetia, the Swiss Arts Council: world première
Ludwig van Beethoven: Symphony No 9 in D minor, ‘Choral’

Anu Komsi soprano
Hilary Summers contralto
Michael Weinius tenor
Mika Kares bass
Andreas Haefliger piano
BBC Symphony Chorus
BBC Symphony Orchestra
Sakari Oramo conductor
Neil Ferris conductor

Sakari Oramo conducts the annual Proms performance of Beethoven’s Ninth Symphony – Western music’s most powerful statement of universal fellowship. Finnish soprano Anu Komsi leads an international cast of soloists.

Beethoven’s Ninth Symphony is paired with two world premieres: a new choral work by Jonathan Dove, conducted by BBC Symphony Chorus Director Neil Ferris, and a much-anticipated Piano Concerto by Swiss composer Dieter Ammann, performed by his compatriot Andreas Haefliger.

[Eine Alpensinfonie]

I bet they had fun sorting out the commissioning of the piano concerto

[ferneyhoughgeliebte]

[amcluesent]

FAO Dieter - WHat a load of rubbish!

[bluestateprommer]

I bet they had fun sorting out the commissioning of the piano concerto

Well, it seems that the work is guaranteed at least 6 performances. The Boston SO's performances are in this coming October. Quite the musical kaleidoscope, loads of notes and energy, even if I'm not sure that it added up to more than a massive finger-busting exercise for the pianist. Just a tiny bit of gushing from Penny Gore about the new work, but only a tiny bit.

JD's new choral work was OK, if it felt a bit protracted in length, at least IMHO.

[jayne lee wilson]

Should the Dieter Ammann Piano Concerto have proved just a little challenging to take in in one go, here's an elucidation to set you up for the second go....(go on, you know you want to...)

https://www.takte-online.de/en/orchestra/detail/artikel/spannung-zwischen-individuum-und-kollektiv-das-klavierkonzert-von-dieter-ammann/index.htm

All clear now? Good....

[bluestateprommer]

Pretty straight-up LvB 9 from Sakari Oramo in charge of the musical army at the RAH today. I thought I detected slightly trimmed vibrato and brisker tempi in the first movement, in a nod to HIPP-ness, but that became less pronounced as things went along (a modest horn bobble in the slow movement aside). Maybe a slightly quirky air in Mika Kares' opening solo in places. After the end (no slowing down or exaggeration from Oramo to close), I thought that I heard an odd background noise from the audience during the applause after the finale, but I probably shouldn't speculate on that. Wisely, Penny Gore in the presenter's box kept it simple as well.

[jayne lee wilson]

A Beethoven 9th which - finally - triumphed over its own imperfections with passion and atmosphere…

I hear the work so rarely and love it so much it can hardly fail to move me - an out-of-chair experience which, into the finale, had me promming at the back of my own arena. I couldn’t sit through such music!

So perhaps I’m less inclined to specific performance critique.
Of course there were imperfections and imprecisions of timing, ensemble etc., a little too often for comfort sometimes - but I liked Oramo’s interpretive approach, blending lyric epic and dramatic… e.g. in the 1st movement, seeming too restrained and soft-edged at first, but increasing tension and power through the development, scorching into the main climax, and with a terrific coda. The adagio was very flowing and beautifully “sung” itself.

But what struck me most (yet again…) was the sheer timelessness of the finale.
Stravinsky described the Grosse Fuge as “contemporary for ever”, and the finale of the 9th often takes me that way - so stunningly, shockingly original in its scale, its fluidity of form and overwhelming sonic impact…
And Oramo really brought out the wild modernity of it tonight…

[Darkbloom]

I was in the hall for this one. The concerto seemed to be endless, just when you hoped it was stopping it would barrel on ahead a bit more. On first listening, I can't say it added up to more than a lot of gestures we have encountered many times before.

Having heard Oramo in Bruckner 5 last year, he does seem to produce crisply executed performances that I don't find particularly memorable. There was a lot to admire tonight - there was a real tense energy in the playing -but it didn't add up to a satisfying enough whole for me. I thought he was almost going for the helter skelter ending a la Furtwangler, but it didn't quite reach that level of manic energy.

[edashtav]

Should the Dieter Ammann Piano Concerto have proved just a little challenging to take in in one go, here's an elucidation to set you up for the second go....(go on, you know you want to...)

https://www.takte-online.de/en/orchestra/detail/artikel/spannung-zwischen-individuum-und-kollektiv-das-klavierkonzert-von-dieter-ammann/index.htm

All clear now? Good....

Lost in translation?

[edashtav]

What of Dieter Ammann's new Piano Concerto? One of his pieces is called Glut and my overall impression of his new work was "way too much". Dieter piled up textures, welters of notes, and thrived on manic, rhythmic dynamism and energy. At the micro level, there were myriads of influences and references; the whole of 20th century music was invoked, reviewed, coalesced, throw into confusion, and then tossed aside. I have never heard so much Stravinsky on Speed in my life before, or Frank Zappa being zapped. Often, Dieter's music sounded spontaneous but it wasn't, it was through composed and concentrated to an amazing extent!

Ammann seems frightened of being a bore: if in doubt, do it to excess, they must not reach for the off switch. The moments of stillness do stand apart and are telling in their other worldliness. The piano concerto is a major composition, lasting over thirty minutes, unusually massive for a composer who often stands, delivers and shuts up: one, two, three and they are over.

I was overwhelmed but also viscerally excited. Of all the new works heard during this season, this is the one to which I must and shall return: it demands to be heard again. Andreas Haefliger played brilliantly: he was akin to a wild man (I kept getting a vision of his father , Ernst Haefliger, and his supremely beautiful interpretation of German lieder with never a note or shading out of place : what would Ernst have said of his son's manic concerto?). Full marks to Oramo and his orchestra for their united zest and enthusiasm. All this and Beethoven's 9th to come!

I love premieres and this was one to die for!

[jayne lee wilson]

What of Dieter Ammann's new Piano Concerto? One of his pieces is called Glut and my overall impression of his new work was "way too much". Dieter piled up textures, welters of notes, and thrived on manic, rhythmic dynamism and energy. At the micro level, there were myriads of influences and references; the whole of 20th century music was invoked, reviewed, coalesced, throw into confusion, and then tossed aside. I have never heard so much Stravinsky on Speed in my life before, or Frank Zappa being zapped. Often, Dieter's music sounded spontaneous but it wasn't, it was through composed and concentrated to an amazing extent!

Ammann seems frightened of being a bore: if in doubt, do it to excess, they must not reach for the off switch. The moments of stillness do stand apart and are telling in their other worldliness. The piano concerto is a major composition, lasting over thirty minutes, unusually massive for a composer who often stands, delivers and shuts up: one, two, three and they are over.

I was overwhelmed but also viscerally excited. Of all the new works heard during this season, this is the one to which I must and shall return: it demands to be heard again. Andreas Haefliger played brilliantly: he was akin to a wild man (I kept getting a vision of his father , Ernst Haefliger, and his supremely beautiful interpretation of German lieder with never a note or shading out of place : what would Ernst have said of his son's manic concerto?). Full marks to Oramo and his orchestra for their united zest and enthusiasm. All this and Beethoven's 9th to come!

I love premieres and this was one to die for!

A wonderful response and vivid evocation Ed.... thankyou so much....
I will return to the Ammann Concerto, when insomnia drags me back from bed to the listening room, as the owls call, or perhaps the Wren at first light, later tonight...the little Wren sang out to accompany Dalbavie/Messaien a few days ago (clinging to the leadlight, straight into the room!).... so who knows....

(I'll lay the Schubert and the Mendelssohn aside, oh, just for once...)