Prom 7 (4.08.21) - Vaughan Williams, Respighi and Mendelssohn

[DracoM]

Yes, the Respighi was a real discovery.

[oddoneout]

A much better interval feature (than Tuesday's) from Martin Handley, who managed a proper dialogue with his guest Diarmaid MacCulloch.

I was rather sad when the interval finished! I would have liked to hear more from Diarmaid MacCulloch, and I thought his style was just right - proper sentences, concise, amusing but with no lack of information and opinion. It seemed to me to be a courteous exchange - time for each to speak without rush or interruption - which both were enjoying.

[edashtav]

A much better interval feature (than Tuesday's) from Martin Handley, who managed a proper dialogue with his guest Diarmaid MacCulloch.

Indeed, this was the first interval talk of this season that was focussed, informative and which did not outstay its welcome.

[LeMartinPecheur]

I'd just been reading something about the Respighi in The Story of Naxos by Nicholas Soames https://www.amazon.co.uk/Story-Naxos...s=books&sr=1-3 and therefore was very pleased to make its acquaintance. Klaus Heymann's wife Takako Nishizaki recorded it for his label Marco Polo in 1984, one of his earliest left-field (non-standard repertoire) issues. She had to learn it for the recording, still likes it but feels that the ending is spoilt by trying to 'out-Paganini Paganini' in a way that doesn't fit with the lyrical style of the rest of the work.

I therefore listened out for this, but actually felt it was a good ending because it needs a bit of a blow-out for the soloist to make a good strong conclusion. Views?

[Simon Biazeck]

I'd just been reading something about the Respighi in The Story of Naxos by Nicholas Soames https://www.amazon.co.uk/Story-Naxos...s=books&sr=1-3 and therefore was very pleased to make its acquaintance. Klaus Heymann's wife Takako Nishizaki recorded it for his label Marco Polo in 1984, one of his earliest left-field (non-standard repertoire) issues. She had to learn it for the recording, still likes it but feels that the ending is spoilt by trying to 'out-Paganini Paganini' in a way that doesn't fit with the lyrical style of the rest of the work.

I therefore listened out for this, but actually felt it was a good ending because it needs a bit of a blow-out for the soloist to make a good strong conclusion. Views?

I had high hopes for this piece, but was very disappointed and I am not inclined to return to it. On balance, I do agree with you about the ending, although I can see why she feels otherwise.

SBz.

[Maclintick]

I was rather sad when the interval finished! I would have liked to hear more from Diarmaid MacCulloch, and I thought his style was just right - proper sentences, concise, amusing but with no lack of information and opinion. It seemed to me to be a courteous exchange - time for each to speak without rush or interruption - which both were enjoying.

Yes, erudite and entertaining in equal measure -- a real pleasure.

[seabright]

In his review of the Chandos CD of the Respighi (Lydia Mordkovitch/BBCPO/Downes) Andrew Achenbach wrote: "Even after repeated hearings, one's overall impression is of comparative aimlessness" and I'm inclined to agree. And still we await the Proms Premiere of "Church Windows"!

[oddoneout]

I only caught part of what was said but I think Petrenko made some comment to the effect that there were some similarities in sound/mood between VW's Lark ascending and the Respighi and I did think that of some of the passages. As I am not that fond of the VW work the similarity wasn't a positive and overall I think it will go down as "Well I've heard it but don't need to hear it again". It didn't detract from my enjoyment of the concert though.