Prom 15: Bavarian Radio Symphony Orchestra (1) - 30.07.19

[ferneyhoughgeliebte]

How does Amazon justify its high prices - almost £70 for the piano concerto?

It's a Marketplace seller, so they leave it to us to tell them what to do. (£6 for a Used copy, incl P&P, seems the better bet.)

CHANDOS itself only has the release as a download, for a tenner, or as a CD-R for £13.24.

[Edgy 2]

I bought tickets for this,I really wanted to hear this Orchestra under Jansons in DSCH 10.
Still very excited despite the changes.

[richardfinegold]

Perhaps the finest Orchestra of the day, unfortunately linked at the hip to Conductorial Mediocrity. Still worth hearing.

[Tony Halstead]

Perhaps the finest Orchestra of the day, unfortunately linked at the hip to Conductorial Mediocrity. Still worth hearing.

Please elucidate.
Who is their mediocre conductor?
We should be told.

[Stanfordian]

Please elucidate.
Who is their mediocre conductor?
We should be told.

I am not one them but there seems to be a view among some members that Jansons presides over dreary performances. I've heard Jansons referred to as "YAWN-sons". Hence the term mediocrity, I guess. This is a wonderful orchestra that I try to see live at least once each year.

[Richard Barrett]

I am not one them but there seems to be a view among some members that Jansons presides over dreary performances. I've heard Jansons referred to as "YAWN-sons". Hence the term mediocrity, I guess.

I think his Shostakovich 4 with the BRSO might dispel such misapprehensions. Otherwise: I haven't worked with very many orchestras, four to be precise unless one counts the reconstituted Scratch in 1984 but I would put the BRSO at the top, there really isn't another orchestra in the world currently that plays contemporary music at their level, that is to say the same level as that on which they approach earlier repertoire.

[Bryn]

I think his Shostakovich 4 with the BRSO might dispel such misapprehensions. Otherwise: I haven't worked with very many orchestras, four to be precise unless one counts the reconstituted Scratch in 1984 but I would put the BRSO at the top, there really isn't another orchestra in the world currently that plays contemporary music at their level, that is to say the same level as that on which they approach earlier repertoire.

Funny you should mention the Scratch Orchestra. In 1972 they/we performed Christian Wolff's Burdoccks (much to the vociferous displeasure of Feldman and Cage) in the BRSO's home venue, though not in the main auditorium.

[alywin]

Jansons is on the sick list yet again and Yannick Nezet-Seguin has stepped in replacing the DSCH 10 with 5. The shortness of the programme was obviously for Jansons' benefit so a missed opportunity to include an overture.

It's a 7 pm start: I'd assumed that any shortness would have been dictated by the need to finish early, given that Jansons is fond of doing several encores.

The Jansons/BRSO partnership has almost guaranteed excellent performances over the years so this is unwelcome news to say the least. He manages to combine attention to detail with an air of excitement that I have found quite rare in a concert hall over the years.

Well summed up, thanks.

BTW, has anyone found out where on earth on the Proms website the changes to artists and programmes are posted? There have been several so far, and possibly more that I don't know about. (Also, where in the Hall they are notified? There used to be a board in the Gallery at Door 6 with such things on, but it seems to have vanished over the last few years.)

[richardfinegold]

I ran across the following from an American Critic in Fanfare:

“I am sometimes mystified how Janson’s frequent inability to probe beneath the surface hasn’t held him back from reaching the height of his profession “

[Darkbloom]

I ran across the following from an American Critic in Fanfare:

“I am sometimes mystified how Janson’s frequent inability to probe beneath the surface hasn’t held him back from reaching the height of his profession “

Jansons nearly took the roof off the RAH with a Tchaik 4 with the Pittsburgh SO about twenty years ago. His Mahler 6 with the LSO was outstanding. I have seen quite a few performances with the BRSO and they have usually been memorable. His concerts with the Concertgebouw never took off for me, though; it didn't seem a happy partnership.

That description sounds more accurate for someone like Maazel or Levine.

[gedsmk]

Jansons nearly took the roof off the RAH with a Tchaik 4 with the Pittsburgh SO about twenty years ago. His Mahler 6 with the LSO was outstanding. I have seen quite a few performances with the BRSO and they have usually been memorable. His concerts with the Concertgebouw never took off for me, though; it didn't seem a happy partnership.

That description sounds more accurate for someone like Maazel or Levine.

I was there! That Tchaikovsky 4 was truly sensational. Amazing chemistry with the players and the hall. Every visit by the Pittsburgh with any conductor is memorable, but this was special. I was also at the Tremendous Ein Heldenleben with the Bavarians, when all the lights went off during the battle scene and they continued playing! The chemistry was just not there with Concertgebouw, though.

[jonfan]

Well on to the fourth movement of the Beethoven and this is edge of the seat stuff, superlative music making. How life enhancing to hear it. Beethoven fresh and modern as the day it was written

[teamsaint]

I don’t think I’ll go tomorrow after all. Sounds like there is a godawful bug going round.

But tonights concert is fabulous.

[edashtav]

Whilst I enjoyed DSCH's #5 , I suspect that I've had enjoyed his more distinguished #10 more under Jansons as I'm a fan of that work and Mariss's conducting of the Bavarian R.S.O.
Y. N-S. didn't over-inflate the 5th and some of the most successful moments were those that were icy-cold and pp. The discipline and precision of the orchestra were admirable. I'm sorry that Lisa Batiashvili is unavailable for tomorrow's Prokofiev, but Gil Shaham is a fine replacement.

[jonfan]

Fabulous 5th. The quiet moments were absolute magic as well as the barn storming tuttis. The pacing and discipline were very convincing. There’s a tremendous rich bass to the sound which supports everything else upwards. Concentration of the audience was palpable throughout; not a hint of wanting to applaud between movements from anyone. Fascinating interval talk especially regarding the tempo of the ending. Tonight seemed to take a middle course.