Ask The Audience Arcana at the Proms
Last year Arcana went on a charm offensive, introducing friends to the BBC Proms, some for the first time. For the 2017 season we will continue to bring the festival to people in this way, discovering fascinating musical facts and insights as we go. For our first visit we chose the concert commemorating Sir Malcolm Sargent, one-time conductor of the Proms in the 1960s. The program replicated his 500th Prom, given in 1966 – and to offer an appraisal we invited Rob Chung (above)
Rob is DJ Chug, a drum ‘n’ bass DJ who runs his own Elements night in East London, and he has releases forthcoming this summer on Soul Deep and Co-Lab Recordings. Yet, as he revealed to Arcana, he has a classical past.
Beatrice Rana (piano), BBC Symphony Orchestra / Sir Andrew Davis
arr. Sir Henry Wood The National Anthem; Berlioz Le carnaval romain Overture, Op.9 (1844); Schumann Piano Concerto in A-minor, Op.54 (1845); Elgar Cockaigne (In London Town) Op.40 (1900-01); Walton Façade – Suite No.1; Popular Song (1922-28); Holst The Perfect Fool – Ballet Music (1918-22); Delius On Hearing the First Cuckoo in Spring (1912); Britten Variations and Fugue on a Theme of Purcell (The Young Person’s Guide to the Orchestra), Op.34 (1945)
You can listen to this Prom on the BBC iPlayer here
Arcana: Rob, what was your musical upbringing?
It was quite an extensive one – mainly from my sisters, when I was little. They would have anything from Duran Duran to Wham!, the big pop hits of the 1980s. My parents had a bit of Motown on vinyl, then as my sisters got older the influence came into early ‘80s R&B, swing, hip hop, De La Soul, Public Enemy, a lot of gangster rap – and then some jazz – Courtney Pine, Julian Joseph. And then it was on to drum ‘n’ bass, to Goldie and 4Hero, that kind of stuff. So that was the influence from my sisters, and then because there wasn’t any local radio in East Anglia – it was just Radio 1 or nothing, no pirate radio – I used to listen to a lot of dance DJs in the evening, such as Dave Pearce, Danny Rampling and Tim Westwood. I used to record Tim Westwood’s shows every Saturday, and fell in love with hip hop basically!
My sister came to university in London, and used to record all the drum ‘n’ bass in London, off the pirate radio stations, and she used to send me the tapes back. From there I learned what was going on in London. Then at about 15 or 16 there was a new pirate station in Norwich, of all places, called Flight FM, so I used to listen to that all the time. A lot of local DJs were playing garage and drum ‘n’ bass, and that’s when I discovered UK garage, and bought my first set of decks. I was buying anything and everything – house music, hip hop, drum ‘n’ bass, and it all went from there.
At the same time I played the piano and violin as a kid, at school. I played the violin from six years old to 18, and I was in an orchestra – I got to grade seven. I was in an orchestra at school, we used to play in the chapel and the cathedral, which you take for granted now. I have this recurring nightmare about playing on the second desk of the violins, losing my place and trying to pretend I was playing for the next hour or so. It still haunts me to this day, and I still bring it up with my school mate whenever I see him!
Have you had any other classical music experiences beyond orchestra?
Not really. I used to go to the odd concert with my parents, at Christmas carol time, otherwise not really. Not since school days.
Could you name three musical acts you love, and why you love them?
Currently, Robert Glasper – a great jazz pianist, fusing hip hop, R&B and jazz, three forms I really like. He’s an amazing musician and great live. I’ve seen him about five times now, he blows me away every time.
Stevie Wonder I think is the greatest musician I’ve ever seen. I’ve seen him at Glastonbury, and at Hyde Park last year. He’s got an amazing repertoire, great albums and a great voice. He plays any instrument amazingly well, he just blows me away.
For the third one…a drum ‘n’ bass producer called Serum, who is absolutely smashing it on the drum ‘n’ bass scene at the moment. He covers all styles, has in your face, stupid jump up tunes. Anything he releases at the moment I would listen to it and probably buy it.
How did you rate your first Proms experience?
I would give it 10/10, it was awesome – amazing. Everything about it, the experience, the sound, the crowd, the quality of the orchestra, the conductor – it was a really good experience. I forgot what it was like to be at a concert but the stereo width of the sound blew me away, following the music. I was really impressed with it, and it was the Royal Albert Hall of course. The sound was crystal clear, not loud but you could hear every single thing. It was really impressive.
What was your favourite piece?
I haven’t actually decided on that yet…probably the Elgar piece…or the Schumann, with the piano. I’ll go for that one, I liked the call and response between her (Beatrice Rana) and the orchestra, with the clarinet and the cellos, going back and forth. I really enjoyed that and she was pretty special. It took you all over the place but she was the focal point as well.
You mentioned how you knew it was Elgar during the piece.
Yeah, I don’t know why – and the same with Britten as well. It feels like an English tune, I don’t know what it is. They always used to play Nimrod at the end of every year at our school, and I think it was the harmonics or the chord progression, as soon as they started playing – and how the strings come in and out, with a slow attack.
What was your least favourite?
I think it was The Perfect Fool. I got a bit lost, and couldn’t keep up with what was going on. That was the intention, right?! I couldn’t really follow it. I liked the Walton piece though, it was a bit of fun in the middle, and the fact you could get a crowd laughing at a random ending, that was pretty special. That was where the percussion came out and were really getting into their element.
What did you think of the Delius piece, On hearing the first cuckoo in spring?
I quite liked that, again – spring, the strings coming in, it was a nice, short, to the point piece.
Do you think in terms of the length of the pieces some was too long?
It’s hard to keep up for that length of time. Some of the Schumann I struggled with a bit at the end, but at the same time in the Walton when it was short and sweet I sometimes felt it was too short, a little poem rather than a chapter. It was a nice change, a bit like listening to a Disney score.
It can be quite mentally tiring trying to take all of the music in, you start wandering. But I was comparing tonight to when I saw James Blake play at Shepherd’s Bush, and it was a sensory overload with all the lights and everything, there was a lot to take in. it was like that tonight, with lots of different things going on and trying to keep up – it was a good workout for the brain.
I thought it was also interesting how someone in the orchestra can have just one small part in 30 minutes, but when you come in you can’t miss a place. The Elgar piece I felt a lot of tension building, the Walton piece – I forget you can have things in triple time. These days everything I listen to is in four!
What did you think of the concert as an experience?
It was a lot more informal than I was expecting. I enjoyed the laid back atmosphere, it seems very open – which is not what I expected at all. We had people reading their books, people lying down, a guy reading along to the music which I thought was quite cool. I liked the crowd involvement – not a lot but traditional, it was really nice. The National Anthem at the start threw me a bit (and me! – ed) but at the same time it is nice to do these things, it doesn’t happen very often.
The acoustics vary differently where you are, it’s interesting to compare down in the Arena with up in the gods. I would be interested in how they mic everything up and do the soundchecks. There is the depth of sound as well, you really feel the depth with the violins to the tuba. I liked how the organ just snuck in during the Elgar too. Nobody was out of sync, either! I was trying to spot someone…but not gonna happen!
What we said about the conductor, how much control he has over everything – I was impressed with that, how he sped it up, slowed it down and brought people in. I forget how much hard work that must be. You’ve got to know the pieces inside out, and it was very impressive.
Was there anything you would change about how the concert was staged or presented?
Not really. I guess I’m used to having members of the band introduced, pointing out a certain lead – but I guess that’s done in the programme notes. I don’t think I would change anything.
Would you go again?
Definitely, I would happily go.