Onwards to the apotheosis of Smetana: Ma Vlast. Not his Selfie or Ein Heldenleben but 6 symphonic poems celebrating his country Totemic music for his nation, Bohemia's Finlandia or England's Lark Ascending. The opening of Vysehrad was broad, expansive and rich from an augmented orchestra with its wind-band doubled up.
Vltava was a good contrast with its waters bubbling briskly along. The cross rhythms between the string band were effervescent and caught the play of light on the water that John Tusa memorably recalled in the interval discussion. The jaunty contrasting episode was a tonic. Altogether, Vltava received the best playing and interpretation that I've heard during the first two days of this Proms' season. It will remain long in my mind.
Sarka: I loved the squeeze-box evocations in the counter melody followed by mellow, haunting clarinet solo. This piece was played with love, affection and gorgeous characterization. The cheap as chips coda was dispatched like a rocket to the Moon.
From Bohemia's Woods and Fields opened with a blaze of glorious sunshine before settling to a bucolic village scene, then pedantic schoolmaster entered whistling an austere contrapuntal exercise. The main anthem (that owes so much to Dvorak) was exultant but shot through with warnings of storms ahead.
Tabor:time to forge blood brothers through a shared faith and comradeship of warriors. This piece was not played in a vainglorious manner but it was full of determination and confidence although its Brucknerian battle remained unresolved;
Blanik took up the rhythmic cudgels in a brisker, more business-like manner. I found the inevitable, if surprise, victory over evil, a bit tub-thumping but that was down to Smetana
All departments of the Bamberg played their part in what, for me, was the best performance that I've heard since first encountering it under Vaclav Talich perhaps fifty years ago. A piece that could have been written for the Royal Albert Hall.
Vltava was a good contrast with its waters bubbling briskly along. The cross rhythms between the string band were effervescent and caught the play of light on the water that John Tusa memorably recalled in the interval discussion. The jaunty contrasting episode was a tonic. Altogether, Vltava received the best playing and interpretation that I've heard during the first two days of this Proms' season. It will remain long in my mind.
Sarka: I loved the squeeze-box evocations in the counter melody followed by mellow, haunting clarinet solo. This piece was played with love, affection and gorgeous characterization. The cheap as chips coda was dispatched like a rocket to the Moon.
From Bohemia's Woods and Fields opened with a blaze of glorious sunshine before settling to a bucolic village scene, then pedantic schoolmaster entered whistling an austere contrapuntal exercise. The main anthem (that owes so much to Dvorak) was exultant but shot through with warnings of storms ahead.
Tabor:time to forge blood brothers through a shared faith and comradeship of warriors. This piece was not played in a vainglorious manner but it was full of determination and confidence although its Brucknerian battle remained unresolved;
Blanik took up the rhythmic cudgels in a brisker, more business-like manner. I found the inevitable, if surprise, victory over evil, a bit tub-thumping but that was down to Smetana
All departments of the Bamberg played their part in what, for me, was the best performance that I've heard since first encountering it under Vaclav Talich perhaps fifty years ago. A piece that could have been written for the Royal Albert Hall.
and there’s no political will,
but we have orchestras their equal in most of our ‘cities’, Birmingham, Leeds (Opera North), Manchester (two), Liverpool, Glasgow (two), Newcastle, Bournemouth, Cardiff and London (loads).
), and….
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