Prom 42 (7.09.21) - Benjamin Grosvenor Performs Beethoven’s Piano Concerto No. 4

[Ein Heldenleben]

Yes, I can't see 'one-dimensional' as being anythng but a criticism, but 'self-effacing', and even 'understated', will be appealing to some tastes.

Yes except that Ben was not “one dimensional” or “self effacing” ! There are just two phrases plucked out of the air by a critic who for whatever reason just didn’t get it . The giveaway is her “leonine” reference . It’s just not that sort of concerto . Unlike the Emperor or parts of Brahms 2 . It’s much more about a dialogue with the orchestra - just look at the slow movement..

[Bryn]

Yes except that Ben was not “one dimensional” or “self effacing” ! There are just two phrases plucked out of the air by a critic who for whatever reason just didn’t get it . The giveaway is her “leonine” reference . It’s just not that sort of concerto . Unlike the Emperor or parts of Brahms 2 . It’s much more about a dialogue with the orchestra - just look at the slow movement..

'
Re "leonine", I am reminded of a comment by John Tilbury that the second movement is, for him, more 'Androcles and the lion' than the usual 'Orpheus taming the Furies'.

[Ein Heldenleben]

'
Re "leonine", I am reminded of a comment by John Tilbury that the second movement is, for him, more 'Androcles and the lion' than the usual 'Orpheus taming the Furies'.

Fair enough but if Ben had been the lion rather than Androcles the second movement would have descended into a catfight.

[Bryn]

Fair enough but if Ben had been the lion rather than Androcles the second movement would have descended into a catfight.

Even fairer comment.

[french frank]

Yes except that Ben was not “one dimensional” or “self effacing” ! .

I wasn't suggesting the critic was capturing the essence of the performance (I've listened to it again just now) with the description, but whether the words were intended critically. The first definition I see of 'understated' is 'presented or expressed in a subtle and effective way.' There are passages which are quiet and - to use Martin Handley's word - 'intimate'. 'One-dimensional' is baffling.

[jayne lee wilson]

I would like to hear the critic play the rondo at the speed Ben took it at . if he’s a pussycat he’s definitely a cheetah . A remark so far wide of the mark you wonder what concert she was at..

I've noticed the the mediocrity of the writing at Backtrack is in inverse proportion to the CVs on display - strings of degrees, diplomas, endless contributory credits for great strings of publications and organisations....

But too many of them can't bloody write. Or listen, really listen, to what is before them. Fallback to musical description and idealising what they wanted to hear...hardly ever a single, carefully observed detail specific to the performance...(the Mahler 5 review is at least as bad).
Mark Pullinger (erstwhile member here as the Grand Inquisitor, maybe still is), if he's still there, he knows what he's doing. Reviews for Gramophone now too.

I wrote to them once and got a hilariously snobbish, dismissive reply, including:

"We never accept unsolicited contributions.
We insist on a test review before any possibility of acceptance.
All reviewers must be live at the venue."

...What they really want is a CV to induce fainting fits...

[Bryn]

I've noticed the the mediocrity of the writing at Backtrack is in inverse proportion to the CVs on display - strings of degrees, diplomas, endless contributory credits for great strings of publications and organisations....

But too many of them can't bloody write. Fallback to musical description and idealising what they wanted to hear...
Mark Pullinger, if he's still there, he knows what he's doing. Reviews for Gramophone now too.

I wrote to them once and got a hilariously snobbish, dismissive reply, including:

"We never accept unsolicited contributions.
We insist on a test review before any possibility of acceptance.
All reviewers must be live at the venue."

It would, indeed, be unfortunate for the reviewer to be dead at the venue.

[jayne lee wilson]

It would, indeed, be unfortunate for the reviewer to be dead at the venue.

Too many are like Yeats' modern-nation, "half-dead at the top"....at least when they have to try to describe music....

[Ein Heldenleben]

Too many are like Yeats' modern-nation, "half-dead at the top"....at least when they have to try to describe music....

As a matter of interest do Bachtrack pay ?

[Ein Heldenleben]

I've noticed the the mediocrity of the writing at Backtrack is in inverse proportion to the CVs on display - strings of degrees, diplomas, endless contributory credits for great strings of publications and organisations....

But too many of them can't bloody write. Or listen, really listen, to what is before them. Fallback to musical description and idealising what they wanted to hear...hardly ever a single, carefully observed detail specific to the performance...(the Mahler 5 review is at least as bad).
Mark Pullinger (erstwhile member here as the Grand Inquisitor, maybe still is), if he's still there, he knows what he's doing. Reviews for Gramophone now too.

I wrote to them once and got a hilariously snobbish, dismissive reply, including:

"We never accept unsolicited contributions.
We insist on a test review before any possibility of acceptance.
All reviewers must be live at the venue."

...What they really want is a CV to induce fainting fits...

It’s interesting music writing . If you wanted to deal in facts you could say that Ben dropped a few notes, in the notorious bear traps in the rondo finale the orchestra weren’t quite on the button at the final note of the ad lib scale based cadenzas etc etc but subjectively it was an excellent performance( albeit not Leonine enough apparently) . I have to say that in general opera criticism is way better. There’s a US Opera site where they practically offer the singers detailed notes. I don’t know enough about the mechanics of singing to know whether it’s any help though !

[jayne lee wilson]

As a matter of interest do Bachtrack pay ?

No idea about that.... they offer some very wordy advice to young writers, but that's about all I can find there now....

I don't think many online magazines do. A few years ago Musicweb had a page onsite that said reviewers were not paid. Despite the extraordinary equipment they have in their listening room and the amount of advertising they take.... but of course it is free content, so I've no idea of their cashflow....

In live performance reports especially, one isn't necessarily looking for every last detail, just something to tell us what was distinctive. "Luminous details" that illuminate a certain interpretive approach.

David Threasher's Haydn reviews in Gramophone are always worth reading because he homes in on the characteristics of a given recording; and also makes clear the difference between his subjective response and the attempt to place the recording critically. He's certainly never dull or routine. Similarly with Rob Cowan on Bruckner.
Its so easy to fall into kind of clichéd auto-pilot in trying to describe music. Having to work with limited wordage is often beneficial, but online the opposite often applies.....


The more experienced Record Reviewers usually make the best live reviewers, for obvious reasons. Bachtrack doesn't review recordings....