No notes, no research – just some thoughts and observations.

Prom 9: Sibelius, Bartók, Janáček

What to say about this concert? None of the works are new or unrecorded, so description unnecessary; I don’t know any of the works well enough to make comparisons with other interpretations of them. So – the Sibelius Scènes historiques were pleasant, and while they did, as promised in the concert blurb “[reveal] the composer’s lighter side”, to be honest, I’m more interested in his darker (heavier?) side, and found the 7th Symphony more meaningful and musically engaging. In both, I found myself listening particularly to all the different timbres brought out by the scoring, as the focus shifted around the different sections of the orchestra. All of the sounds coming from the Hallé were simply so nice that I probably would have been quite happy listening to them play scale exercises. What I particularly appreciated about the flute section was the richness of sound in their low registers, and they way it projected such a distance without ever sounding the slightest bit forced. The whole orchestra, in fact, had a particularly close-up, intimate feel to it, which is some achievement when playing to a crowd of many thousands in a huge space.

Enjoyed Bartók’s 3rd piano concerto, performed with great lyricism and harmonic clarity by András Schiff; there seemed particularly close rapport between soloist and orchestra, particularly in the fast alternating sections in the last movement. Janáček’s Sinfonietta is simply a super piece, and was played brilliantly, with all the fizzing energy required, but pinpoint-accurate under Mark Elder’s light fingertip control of the invisible mixing desk. It’s the only one of the pieces that I’ve actually played (piccolo part), and I had an idiot grin on my face for quite a lot of it, especially the 3rd movement. Incidentally: Oo, trombones! Trombones are great!

On a side note, I’m used to having to put up with noise made by other members of the public coughing, eating, fiddling with their false teeth and talking (including, in this case, some imbecilic American man behind me asking what Schiff was playing for his encore WHILE he was playing it), but this is the first time I’ve been distracted by the noise of a ticking watch. Yes, the elderly woman sitting next to me was wearing a watch with an absurdly loud tick, that was clearly audible in the quieter sections of the music. Especially when she raised her hand to ear level, while looking through her binoculars. I noticed it during the first piece and in the first break, politely asked her if she would mind putting it in her handbag. She seemed astonished that I could hear it, and put it to her ear to see if she could (no), and then if her companion could (no), but was still happy to comply. This was fortunate, as having the equivalent of a metronome set permanently to 60 BPM going throughout would not have been conducive to an enjoyable performance.

Prom 33: Sibelius, Grieg, Nielsen

Sibelius and Nielsen are two composers who seem to divide orchestral musicians, or at least, the ones I know. I love them both, Sibelius for his timbres and tone colours, and Nielsen because he writes for woodwind with more love and understanding than almost anyone. The two symphonies tonight (Sibelius 6, Nielsen 4) were not ones I know best, but both showed well the talents of the Royal Stockholm Philharmonic. The Sibelius was particularly effective in its fine graduations of volume and texture. The Nielsen, on the other hand, required very sudden changes; the way the orchestra handled these gave me a mental image of being in a room with several doors opening and shutting in turn and then in combination, the other side of each having a completely different scene going on. Stand-out personnel were the battling timpanists (obviously), and the principal bassoon, who had an unusually soft-edged, slightly diffuse sound with languid vibrato, which was intriguing and enjoyable.

The other piece on the programme – the Grieg Am piano concerto, played by Alice Sara Ott – was one I know very well. At least, I’ve played in it enough times that I actually felt a kinaesthetic memory twitching in my fingertips in response to the 1st flute part – not all the way through, obviously, but at a few key moments, such as the lovely solo in the 3rd movement, which is one of my favourites. Cheese? Why yes it is, but it goes sailing above everything, the finest melted cheese topping (yeah, it’s not the best metaphor) with a last leap up to the top A and goosebumps all round. I found some of the tempi a little on the slow side (and got the impression that Ott did too, and was trying to push them on a bit, though couldn’t say for certain from such a distance) and the phrases joined into very long lines which could have done with a bit more definition, but that’s personal taste. I don’t seem to be very good at telling one pianist from another, because although I haven’t a word to say against Ott’s performance of the concerto, it sounded much the same (i.e. just as good) to my ears than every other time I’ve heard it. That is, apart from that time I did it in a church that hadn’t bothered to get their piano tuned properly, and one of the lower As was massively flat; A is kind of an important note in a concerto IN A MINOR, and the poor pianist kept trying to avoid it by transposing bits of the left hand either up or down the octave. Fortunately Ott did not have to do that. Neither did she make the mistake, as happened in the last performance of it that I played in, of wearing a brand new salmon-pink gown which turned out to be one of those fabrics that goes much darker when it gets wet, which in a sweltering hall resulted in massive sweat patches under each arm, mid-bosom, and, when she stood up to bow, arse too. Not that I suppose she would have cared, as long as all the music went well, and it did.

Audience noise rep0rt: One mobile phone, but an ‘old-fashioned telephone’ jingly sound which happened to be of the correct pitch to blend with the harmony of the music at that point. So, less annoying than a triangle…

Prom 66: Thierry Escaich (organ) plays Bach, Escaich, Reger, Franck, & Liszt

I like going to organ recitals once in a while. Don’t mind who’s playing what, just like having my bones rattled by the massive pipes. Preferably while lying flat on my back in the middle of the RAH Arena.

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