Proms 29 & 30: The Warner Brothers Story 9.08.19

[Eine Alpensinfonie]

15:00 & 19:30 Friday 9 August 2019

Royal Albert Hall

Harold Arlen: Blues in the Night
Erich Wolfgang Korngold: The Constant Nymph - excerpts
Erich Wolfgang Korngold: The Sea Hawk
Frederick Loewe: My Fair Lady - excerpts
Frederick Loewe: Camelot - excerpts
Alex North: A Streetcar Named Desire - excerpts
Max Steiner: Now, Voyager - excerpts
Max Steiner: The Treasure of the Sierra Madre - excerpts
Jule Styne: Romance on the High Seas - excerpts

Maida Vale Singers
John Wilson Orchestra
John Wilson conductor


Ten years since their first Proms appearance together, John Wilson and the John Wilson Orchestra present an evening of sumptuous technicoloured scores from the Golden Age of Hollywood cinema. With music from films including The Sea Hawk, The Constant Nymph, Calamity Jane, A Streetcar Named Desire and Harry Potter.

[Eine Alpensinfonie]

Joking aside, but is "technicoloured" a legal word, being derived from Technicolor?

[bluestateprommer]

Joking aside, but is "technicoloured" a legal word, being derived from Technicolor?

It's probably in the same class as "Band-Aid" and "Xerox", if that means anything.

For those familiar with the John Wilson Proms, the formula is pretty much the same as before, extrovert music making, not meant to be listened to for depth, but purely as entertainment. In "We're In The Money", the sheer volume of the orchestra made me wonder how JW would fine it down to allow Louise Dearman to be heard, even with microphones. In the last number, Matt Ford perhaps didn't quite tap his inner Cockney quite enough (odd for an American to say that, since I've never visited the East End), but whatever. I think that this My Fair Lady number was in Andre Previn's arrangement, so this is a tribute to Previn as well.

Enjoyable interval discussion about the Warner Brothers studio back in the day, which takes me back to the days when I was more into film history in college.

[johnn10]

It's probably in the same class as "Band-Aid" and "Xerox", if that means anything.

For those familiar with the John Wilson Proms, the formula is pretty much the same as before, extrovert music making, not meant to be listened to for depth, but purely as entertainment. In "We're In The Money", the sheer volume of the orchestra made me wonder how JW would fine it down to allow Louise Dearman to be heard, even with microphones. In the last number, Matt Ford perhaps didn't quite tap his inner Cockney quite enough (odd for an American to say that, since I've never visited the East End), but whatever. I think that this My Fair Lady number was in Andre Previn's arrangement, so this is a tribute to Previn as well.

Enjoyable interval discussion about the Warner Brothers studio back in the day, which takes me back to the days when I was more into film history in college.

Yes, interesting talk but surely Korngold came from Austria rather than Germany as claimed?

[Frances_iom]

it's the old R2 Friday night is music night formula - whether it deserves 2 evenings is debatable but since R2 threw out that sort of entertainment I suspect R3 is the only station that can be lent on to give it air time.

[Stunsworth]

it's the old R2 Friday night is music night formula - whether it deserves 2 evenings is debatable but since R2 threw out that sort of entertainment I suspect R3 is the only station that can be lent on to give it air time.

It’s only one night, not two.

[Ein Heldenleben]

If it is ‘Friday Night Is Music Night ‘ it would be difficult to imagine it better sung or played. To be honest some of the orchestral playing tonight eclipsed other orchestras heard recently at the venue ....

[Lordgeous]

Sheer pleasure as always from the John Wilson outfit. And the final Korngold - fascinating and thrilling. Since their first prom 10 years ago have been a huge fan. Saw them live in Bristol - equally impressive, albeit with a smaller band, and the best live string sound I've ever heard. And useful "Sleeve Notes" from Neil Brand too tonight. It must have sounded stupendous in the hall with that huge array of fantastic players.

[gradus]

Many of the pieces were new to me, with the added advantage of some first class singing of those that were familiar, plus the extraordinary mezzo/contralto in the final piece. Altogether a triumph. What a great musician we have in John Wilson.

[ardcarp]

I was left wondering how (a) such a large orchestra can finance itself and (b) were all the arrangements (bar Wilson's own) done by some incredibly hardworking person/s behind the scenes, or were the scores available 'off the peg' ?

Agreed, a great evening covered by incredibly professional and slick live TV production.

[jonfan]

Sheer pleasure as always from the John Wilson outfit. And the final Korngold - fascinating and thrilling. Since their first prom 10 years ago have been a huge fan. Saw them live in Bristol - equally impressive, albeit with a smaller band, and the best live string sound I've ever heard. And useful "Sleeve Notes" from Neil Brand too tonight. It must have sounded stupendous in the hall with that huge array of fantastic players.

It certainly did with huge contrasts between the delicate moments and the crowning of everything with the organ surging through at the end. It was good for the orchestra to be the main attraction this year rather than a staged musical. Top players filling the stage and absolutely loving every moment. JW, so self effacing, not a wasted or ostentatious gesture, a national musical treasure for sure.

[Ein Heldenleben]

I’m pretty sure that where no originals exist John Wilson painstakingly recreates the original orchestrations . I think Warner Brothers may have been better at keeping their scores so that we heard the Previn and Korngold originals last night . As for the economics I’m guessing that to keep costs down the orchestra is entirely freelance with little management superstructure . Some of the freelances will not be cheap - he has a quite excellent big band drummer for example . The orchestra has a smaller string section than a symphony orchestra but possibly more reeds and percussion . Having been to a few of their regional concerts their tickets are considerably more expensive than the BSO for example .

[antongould]

Many of the pieces were new to me, with the added advantage of some first class singing of those that were familiar, plus the extraordinary mezzo/contralto in the final piece. Altogether a triumph. What a great musician we have in John Wilson.

Totally agree gradus ......

[Constantbee]

Dazzling orchestral playing. Gorgeous rich, lush string sound. How do they do that? Interesting contribution from JW himself during the interval about the distinctive sound he gets out of them. It’s a very big section, by the looks of things, they use a lot of narrow vibrato and very long bows. Would love to learn more about this some time. Possible future article for The Strad magazine?

[MrGongGong]

. As for the economics I’m guessing that to keep costs down the orchestra is entirely freelance with little management superstructure . Some of the freelances will not be cheap - he has a quite excellent big band drummer for example . .

Most UK orchestras are freelance
how much do you think the players earn ?