Originally posted by seabright
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Different licencing conditions for commercial release on disc and for re-broadcast? Hmm, that can't be it. They could simply spin the discs. -
Indeed they could. I see that Andrew Clements in yesterday's 'Guardian' lamented that the Proms organisers "hardly delve as deeply into the archives as one might have hoped" and refers to "a number of run-of-the-mill programmes from recent years" whilst wishing instead for "something from the 1960s and 70s." Sorry, but I don't buy this weak "technical issue" excuse. If ICA Classics can put onto YouTube a 3-minute 'advertising' clip of Rozhdestvensky conducting the entire Act 2 of Tchaikovsky's "Nutcracker" from the 1981 Proms, then I fail to see how the entire transmission cannot have been planned into the up-coming 'Archive' Season. Talk about missed opportunities! ...Originally posted by Bryn View Post
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It could just be that the tapes have been wiped or they were all sold off!Originally posted by seabright View PostComment
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We hadn't previously heard Yevgeny Kissin's 1997 solo Prom - what an extraordinary display of dazzling pianism!Comment
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I thought I'd set my pvr to series-record the proms, not sure how it missed the Anoushka Shankar. It's last night now -
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Just caught the Manchester Camerata's Late Night Prom from 2005 (there isn't a thread on it in the concerts sub-thread, but given how late in the game it is, it's just as well to post about it here), a first listen for me. Perhaps not a world-beater of a listen, but enjoyable to hear, and "good clean fun", as it were.
Perhaps in unwitting reaction to what Petrushka had mentioned in one post elsewhere about preserving the original presentation from the time to add to the atmosphere, this re-broadcast was presented pretty much intact from the time, with Stephanie Hughes in the presenter's box (and Danielle Jalowiecka from the present day book-ending it), including SH mentioning upcoming 2005 Proms, specifically the Bournemouth SO and Marin Alsop. Of course, given the format of Late Night Proms, without interval, there's no point in fading out the presenter from the time to slot in updated material, especially when the works are all comparatively short in duration.Comment
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OK, perhaps the truly last gasp for this summer's Proms season, and an extremely belated last gasp at that, for another under-the-radar archival Prom that also hadn't gotten its own thread, the London Sinfonietta Prom from 2000 that had Judith Weir's woman.life.song as the musical centerpiece, and the work of greatest listening interest to me, at least, as I'd never heard it before. This is understandable, because according to an academic dissertation (as of May 2015):
al"Despite the fame of the collaborators, this work has only had six public performances since its debut in March of 2000. There are also no public recordings of the work, although there are at least two recordings owned by the publisher that are available by special permission."
Conveniently, Heather Cawlfield provided the work's texts in her dissertation, so that although it was necessary to jump from place to place in the pdf, it was easy to follow the text. woman.life.song is a fine, engaging composition, and JN, the London Sinfonietta and conductor David Robertson certainly gave it their best. Interestingly, Cawlfield comments that not everything about this performance was letter-perfect:
JN did well with the Schoenberg in the 2nd half as well, although the pianist, Mark Markham, is certainly not his initials' namesake (i.e. Malcolm Martineau) as an accompanist. But the RAH is then hardly an optimal venue for a piano and voice song recital, it seems. In this re-broadcast, it was also a nice gesture to feature JW and DR as quarantine interval guests with Andrew McGregor."...the vocal part is very challenging musically, not only with interpretation and technique but also in navigating some of the more difficult musical passages. This is proven by the recording of Jessye Norman at the BBC Proms. Although she captured the spirit and the interpretation of the words, her notes and rhythms were not always accurate. Given that she is a world-class interpreter of difficult music, (Richard Strauss, Arnold Schoenberg, Maurice Ravel) this attests to the difficulty of Weir’s vocal writing."Comment
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Perhaps old news here, but there's a fresh chance to listen to last summer's live no-live-audience Proms relays (not quite in the exact original chronological order):
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