Ask the Audience at the BBC Proms – Sam Hogwood on the Scottish Chamber Orchestra playing Schumann, Berg & Brahms

For the latest in Arcana’s Ask The Audience series it’s a family interview, with Sam Hogwood (niece of the editor, above!) giving her verdict on the Scottish Chamber Orchestra’s varied Prom.

Prom 40: Christian Tetzlaff (violin), Scottish Chamber Orchestra / Robin Ticciati

Brahms Tragic Overture Op.81 (1880)

Berg Violin Concerto (1935)

Thomas Larcher Nocturne – Insomnia (first UK performance) (2008)

Schumann Symphony no.3 in E flat major Op.97, ‘Rhenish’ (1850)

You can listen to this Prom on the BBC iPlayer here

ARCANA: Sam, how would you describe your musical upbringing?

I guess I was privileged in the fact that I got to learn the flute. My earliest memories of music are dancing to my dad’s dance music, and then the radio – the top 40 and dance music with the odd rogue track thrown in – my first record that I ever bought was Donald, Where’s Your Trousers?! I remember buying that and being really pleased with myself! I also remember listening to Peter and the Wolf on my dad’s record player, and there were a few more classical pieces. There was one, a scary story that came with a book – Cranston Thorndike & The Dragon, by Terry Loughlin. We used to have that and play it quite a bit.

With people playing instruments it was you (me playing the cello – ed!) and also my aunt, Clare – I idolized her playing the flute so thought I should do that. When my brother Daniel was doing keyboards, and it turned out she was doing flute my mum and dad got me lessons. So it was a rich and varied upbringing!

Could you name three musical acts you love, and why you love them?

It’s tricky, I’m terrible with favourites! I would say the Foo Fighters, because of the energy they bring on to the stage. I think it’s the way Dave Grohl commands the crowd, no matter how many times you’ve seen them and wherever you’ve seen them it’s always immense.

I think Arcade Fire too, the first time I saw them was at Reading. To see how many of them there were on stage, and the variety of instruments they had – one of them would just suddenly whip out the hurdy gurdy! The fact a few of them would play three or four instruments, and go between them in songs – not even between songs – that’s just mad.

The third one would be The Killers I think. I’ve seen them quite a few times, and again it’s just a great show – because Brandon Flowers is such a great front man. He commands such energy, and demands it back from the crowd at the same time. It’s not just the band, he’s a show man.

How would your experience of the Proms compare with the live music you’ve seen?

I would say it’s more thought provoking, because of the silence. Even though you’ve got the music, there is an incredible amount of silence, whereas I would say that in concerts that aren’t classical there is such a din because of the crowd. That means you’re not necessarily appreciating the musicianship, whereas at the Proms, because there is such a silence, you’d pick up a wrong note or something out of time. There is a lot more pressure on it, and it commands a lot more with the lows and the highs, and it really gets you. There is also the element of deciphering the elements, whereas with pop concerts you are listening more as a whole.

What did you think of the first piece, the Brahms Tragic Overture?

I really enjoyed that. I think for some reason I hadn’t thought before how complementary the wind section is to the strings, and there were points where they were hitting the same notes where I couldn’t tell if it was the violins or the winds. They hit that same point, and then they separate so you can really hear the flutes, and their pitch. Something else I hadn’t really appreciated was with the vast number of strings, and how two flutes commanded as much impact with their melodies.

What did you think of the Berg Violin Concerto?

I enjoyed it. I thought it was interesting. I don’t know a lot about the orchestras, but I assumed the lead violinist, watching him – you could see why he needed to stand up, for space to express himself with the music. It was interesting, how it’s called a Violin Concerto but all the other instruments played throughout as well.

And what did you think of the new Thomas Larcher piece, Insomnia-Nocturne?

I thought about the idea of seeing colours in music that we talked about in the interval, but I thought for me it’s definitely emotion when I listen to music. I definitely thought in this piece a lot of it was very dark and anxious. It made you feel concerned, and it was heavy to the point that when it reached a dream state it was really quite a relief! When it’s that intense, linking back to film, you know why they use certain music in film. If you were to watch a horror film stripped of its music you wouldn’t think too much of it, but it’s the way the music is used that really gets you!

What was your verdict on the Schumann, after that?

It was lovely, and I’m really pleased they finished with that! It was like a magical fairy tale, and then the fourth section got quite dark and dangerous, and then it lightened off again. I thought some of the writing in the book, about the composer and their lives, was entertaining, but then it makes sense later on with what it said about Schumann.

Did you find the notes helpful, reading about the composer while the music is being played?

It’s interesting to read about the origins of the music, but I think it’s a side bit of information because with music you feel your own thing anyway. In the second piece, with the undercurrent about his mistress – you could put that out there but it’s like art, with a brush stroke on a page. The background to it almost becomes irrelevant to the art piece itself. You look at some art works and it tells you how evocative it is, but you look at it and think, ‘I’m not really getting that’ You see it for what it is. I went in the Tate Modern last month and saw the new exhibits, with fire bricks and spirit levels. I’m all for appreciating art but there are some pieces I don’t get, and even as an installation piece I don’t see what you’re telling me!

Thinking of the Proms, was there anything you particularly enjoyed?

The atmosphere; getting to appreciate classical music in a silent state. I don’t think I’ve ever been in a room with so many other people who have been quiet for such a long period of time for a specific reason. With everything else it’s like the more noise the better, everything gets turned up, but with this if you even cough people stare at you. The musicians are that well skilled that some of the music they play is so soft, and if you’re not silent you’re not going to hear it. Having listened to classical music on the radio and now in a room it was very different.

If you could change anything about the Proms, what would you do?

I’d have the performers sat on the back tiers. When we came to see Bring Me The Horizon with an orchestra here, they were sat on the back three tiers, up quite high. Even if you were on the floor you could see them, whereas this time you could only see them if you were on a level above. I appreciate some people have just come to listen and are not so bothered about the visual aspect, but from a technical point of view I would definitely prefer to see them, it gives the music that bit more.

Would you go to the Proms again?

Definitely!

Verdict: SUCCESS

BBC Proms 2017 – Charles Dutoit conducts the Royal Philharmonic Orchestra in Saint-Saëns’ ‘Organ’ Symphony; Joshua Bell plays Lalo

Prom 40: Stéphanie d’Oustrac (mezzo-soprano), Joshua Bell (violin), Cameron Carpenter (organ), Royal Philharmonic Orchestra / Charles Dutoit

Falla El amor brujo (1914-5)

Lalo Symphonie Espagnole (1874)

Saint-Saëns Symphony no.3 in C minor Op.78 (1886)

Royal Albert Hall, Thursday 17 August 2017

You can listen to this Prom here for 28 days from the date of the performance

On paper, a sultry Prom for the middle of summer, capped by a colourful French symphony. In reality, even more substantial – a concert whose tuneful demeanour and performance panache really lifted the spirits, bringing new perspectives to works we might have erroneously pigeon holed as over familiar or under performed.

Into the latter category falls most of the music of Édouard Lalo, whose Symphonie espagnole, a passionate five movement work for orchestra with violin soloist, is the one work to really gain a foothold in the Proms. Lately however it has fallen out of favour, and Joshua Bell was bringing it back for the first time in 15 years. His evidence was persuasive, a performance full of character, wit and commitment that showed the French composer’s Spanish persuasions in a very positive light. The first two movements were a little on the chaste side, but that only heightened the bravura of the Intermezzo, where Bell was really able to let his hair down.

The finale was also a winner, its tune (memorably upgraded by Keith Emerson and The Nice) leaving an impression long after it had departed, and completing a convincing performance of a substantial work. It would be good to see more Lalo revived to the repertoire, for he is a composer of tuneful appeal with colourful orchestration. Bell (above) gave us a substantial bonus in a gorgeously floated encore of Massenet’s Méditation from his opera Thaïs.

Manuel de Falla also fulfils those two qualities, though his way with a melody is if anything even more exotic. El Amor Brujo (Love, The Magician) is packed full of memorably scored dance music that played right into the hands of a skilled interpreter such as Charles Dutoit. Under his baton the Royal Philharmonic Orchestra swooned and sighed, though unfortunately the contributions from mezzo-soprano Stéphanie d’Oustrac (above) were not ideally balanced from our vantage point in the Albert Hall, her notes falling short of the back of the Arena. Because of that the dances were easily the high point of what was otherwise a high quality performance.

And so to Saint-Saëns, and his Symphony no.3 – the Organ symphony, billed on account of the instrument’s role in the final movement. It was surely the last ten minutes of this work – elevated by pigs in the film Babe – that caused such queues for the arena and gallery, but it was particularly satisfying to be reminded of the work as a whole and its inventiveness.

This was surely the first occasion an organ had been used in this way before, and not just that – a piano too, the four handed part beautifully incorporated by Dutoit into the whole. Dutoit ensured the rhythmic invention of Saint-Saëns was to the fore in the first movement, the strings’ lines shimmering in the half light, while the second movement bloomed in a wondrous shade thanks to well-chosen settings by organist Cameron Carpenter (below) for his accompaniment of the strings plaintive but increasingly powerful theme.

A quickfire third movement brought rhythmic impetus again, the motto theme drumming its way firmly into the consciousness, and then it was the finale, where the balance between organ and orchestra was ideal. Dutoit, who has conducted this work for well over 30 years, relished the drama of the chorale theme and the orchestra’s rapturous response, but also brought forward the inner workings that Saint-Saëns uses to drive it forwards.

A final, personal note on Charles Dutoit, receiving his Gold Medal from the Royal Philharmonic Society before we heard the Saint-Saens – which incidentally was commissioned by the same body in 1886. In his recordings with the Montreal Symphony Orchestra, Dutoit has made some very special insights into French music that are I’m sure on the shelves of many a classical collector today. Ravel, Debussy, Poulenc and Ibert are just five of the composers to benefit from his special relationship with the orchestra – and provide just some of the reasons behind the ever-adventurous conductor’s modest receipt of the medal. He may be 81 but the creative fires still burn very keenly!

Ben Hogwood, with pictures (c) Chris Christodoulou

Stay tuned for another in Arcana’s Ask The Audience series, where Jamie Sellers will give his verdict on the Royal Philharmonic Orchestra Prom. Coming shortly! Meanwhile a Spotify playlist celebrating Charles Dutoit is below, containing some of the music from this concert.

BBC Proms 2017 – Anoushka Shankar and the Britten Sinfonia with Karen Kamensek perform ‘Passages’

Prom 41: Alexa Mason (soprano), Anoushka Shankar (sitar), Ravichandra Kulur (bansuri), Gaurav Mazumdar (sitar), Britten Sinfonia / Karen Kamensek (above)

Philip Glass & Ravi Shankar Passages (1989-90)

Royal Albert Hall, Tuesday 15 August 2017 (late night)

You can listen to this Prom here

Passages is a good, old fashioned piece of classical crossover as it really should be, an example of just how well different forms of music can feed from each other if the composers are flexible and like-minded about their project.

Philip Glass was certainly enthusiastic on discovering the music of Ravi Shankar in Paris in 1965, laying the roots for a collaboration between the two, finally engineered by Private Music in 1989. The result was the intriguing Passages, an hour-long work that sits squarely between the two in terms of style. It is a ‘to me, to you’ work, each composer finishing the other’s thoughts in full musical clothing.

Initially on hearing the strains of Offering and Sadhanipa, however, you might have wondered if the two composers actually met in the construction of the piece. Offering is so irrefutably ‘Glassy’ in style, bubbling beneath the surface before moving into those persuasive cross rhythms he executes so effectively, but it has extra colour in the orchestration to mark it out. Likewise, Sadhanipa stands out with its use of the rich timbres of the Eastern instruments brought in by Shankar as part of the fusion.

Gradually the sounds come together, the distinctive figurations of Shankar complementing the rigorous methods of Glass, and taming them attractively when appropriate. To experience this at the Proms was a treat indeed, the ever-flexible Britten Sinfonia sitting centre stage but often in thrall to the group of musicians positioned on their left, led by Shankar’s daughter Anoushka (below).

Hers was a particularly captivating presence, the sounds from her sitar at once alluring and lovingly wrought, a complement to the superb string playing of Jackie Shave and her Britten cohorts. Soprano Alexa Mason deserves a mention for her floated yet penetrating delivery above the textures in Channels and Winds, while the brass and woodwind were particularly strong in the passages where Glass asks for a more mechanised approach. Meetings Along The Edge was particularly powerful because of this.

The score was full of colourful surprises, which the audience lapped up, and did not suffer for the ‘bar lines’ introduced by conductor Karen Kamensek for the necessity of concert performance. Happily this did not rein the music in, for it was clearly intensively rehearsed, and the Britten Sinfonia players, no strangers to playing music across cultural and artistic borders, responded to the contours of Shankar’s melodies and the clear direction of Kamensek as naturally as they did for the Glass elements.

The resulting collaboration may be a little on the episodic side, but Passages is never less than intriguing, and in this late night performance its qualities were very much to the fore in music that pulsed and shimmered before our very eyes.

One gripe – it would have been nice to credit the orchestral players in the program. Great though it is to have a free and colourful document of the occasion, it seems a shame not to name the players responsible for helping make this night a memorable one.

Ben Hogwood

You can hear the original recording of Passages on the Spotify link below:

BBC Proms 2017 – Christian Tetzlaff, Scottish Chamber Orchestra & Robin Ticciati: Brahms, Berg, Thomas Larcher & Schumann’s ‘Rhenish’ Symphony

Prom 40: Christian Tetzlaff (violin), Scottish Chamber Orchestra / Robin Ticciati

Brahms Tragic Overture Op.81 (1880)

Berg Violin Concerto (1935)

Thomas Larcher Nocturne – Insomnia (first UK performance) (2008)

Schumann Symphony no.3 in E flat major Op.97, ‘Rhenish’ (1850)

Royal Albert Hall, Tuesday 15 August 2017

You can listen to this Prom here for 28 days from the date of the performance

The Scottish Chamber Orchestra are one of the UK’s finest ensembles, and they proved their worth once again with outgoing chief conductor Robin Ticciati leading a fine Prom tracing a course from darkness to light.

Brahms’s Tragic Overture is one of the composer’s deepest orchestral statements, and Ticciati was determined to present its steely side. Often the strings were without vibrato, the lean sound complemented by raucous horns and open textures in the woodwind. Lower strings growled ominously, and only the softer woodwind passages offered occasional respite in their beautifully choreographed choir.

Berg’s Violin Concerto contains music of similarly ominous qualities, in this case uncannily heralding the composer’s final year despite its dedication elsewhere. Though the violin begins with elegiac tones it has a broad emotional range, and Christian Tetzlaff (above) rose magnificently to the occasion, finding Berg’s many and varied colours but crucially balancing them with the excellent orchestral contributions.

The coded messages Berg inserts into the music were on occasion stripped bare, and the anger at the heart of the second movement was almost completely unconcealed. Its crowning moment lies in quiet simplicity, however, and when the quotation of Bach’s chorale Es Is Genug arrived on clarinets the mellow tones were deeply moving. Capping the concerto with his rise to a high ‘G’ at the end, Tetzlaff held the note at a barely audible volume so that it sounded like one last breath in his ascent to another world.

As the evening progressed the darkness drew in ever more closely for Thomas Larcher’s Insomnia Nocturne, an orchestral piece receiving its first UK performance. Written for a relatively small orchestra of eighteen, it was an uncomfortably accurate portrayal of sleep’s refusal to take hold, with a high pitched glockenspiel tone becoming particularly tiresome. Sitting in the background, its tone made an uncomfortable backdrop for the increasingly fractious instrumental activity in front, which finally subsided into a fitful slumber, the sort where it is already too late in the night to be rescued. The piece began with promising tonal material, but in a manner akin to insomnia this was rendered much less appealing by the end.

Thankfully Schumann’s Rhenish Symphony was on hand to pierce the darkness with music of unrestrained joy. The opening surge is one of the happiest in all classical music, and like the river on which it is based it takes everything with it downstream. The Scottish Chamber Orchestra were superb, the lofty horns enhancing the open-air sound while the woodwind worked together in beautifully shaded colours, as did the strings with more vibrato this time.

If anything the second movement Ländler was even better, flowing forward with purpose and charm, while the Intermezzo following also had a softer heart. The mood became solemn for Schumann’s powerful evocation of Cologne Cathedral in the fourth movement, the symphony turning inwards with self-doubt and contemplation, but from this the finale emerged with resolve and conviction.

A strong Prom, then, the Scottish Chamber Orchestra giving us something old (Brahms and Schumann), something new (Larcher), something borrowed in the Berg and something blue in the mood that ran throughout. Thankfully the shade of this particular blue changed from deep and dark at the outset to a bright and breezy azure by the end.

Ben Hogwood

Stay tuned for the next in Arcana’s Ask The Audience series, where Sam Hogwood will give her verdict on the Scottish Chamber Orchestra Prom. Coming shortly!

BBC Proms 2017 – John Storgårds conducts the BBC Philharmonic Orchestra in Sibelius, Grieg, Schumann & Hindemith

Prom 33: Lise Davidsen (soprano), Alban Gerhardt (cello), BBC Philharmonic Orchestra / John Storgårds

Grieg Peer Gynt Op.23 (excerpts) (1876)

Sibelius Luonnotar Op.70 (1913); Karelia Suite Op.11 (1893)

Schumann Cello Concerto in A minor Op.129 (1850)

Hindemith Symphony, Mathis der Maler (1934)

Royal Albert Hall, Thursday 10 August, 2017

You can listen to this Prom by clicking here

John Storgårds has been making his mark on the BBC Proms in his appearances as Chief Guest Conductor of the BBC Philharmonic. Tonight’s tale of two geographical halves commenced with excerpts from Grieg’s music to Peer Gynt; starting with the lively Overture (hardanger fiddles in evidence thanks to the violas), then continuing with a vehement Ingrid’s Lament, a deftly propelled Morning and a pensive Solveig’s Song undermined by Lise Davidsen’s fluttery vocal; finishing with the suitably quirky Dance of the Mountain King’s Daughter.

Davidsen (above) was then heard to better advantage in Sibelius’s tone-poem Luonnotar, coping ably with the stratospheric range of this singular creation myth – not the least of whose fascinations was having been premiered at the Three Choirs Festival in Gloucester Cathedral. There have been some memorable accounts of this piece over recent years, and if Davidsen did not efface memories of such as Mattila and Komsi, she duly pointed up its drama and mystery in what was, for the greater part, a sympathetic account. The Proms audience was suitably attentive.

Sibelius’s comparatively mellifluous Karelia Suite brought this Nordic first half to its close. Storgårds’s widely contrasted tempi for the Intermezzo left a rather disjointed impression, and while the Alla Marcia sounded rumbustious enough, a certain coarseness of playing rather limited one’s enjoyment. Best by far was the Ballade, one of the composer’s most arresting earlier pieces in its enfolding modal harmonies and given a notably rapt reading with such aspects as the wistful cor anglais melody towards its close eloquently phrased.

The Germanic second half began in more restrained mood with Schumann’s Cello Concerto. Rarely performed for decades (and more often in the transcription for violin), this deceptively genial piece is among its composer’s most ingenious in terms of form and motivic continuity. Alban Gerhardt (above) maintained a determined while never merely inflexible course across its three continuous movements, the BBC Philharmonic providing support as attentive yet unobtrusive as the music required. Interesting to hear that the soloist thought the finale musically the least successful, as this emerged as arguably the most successful part – not least with its engaging dialogue kept on its toes and with no sense of dourness or grittiness as regarded the orchestral texture. Overall, a perceptive and convincing account of a work still too easily overlooked.

Storgårds then rounded-off the programme with a taut and tensile reading of the symphony that Hindemith derived from his opera Mathis der Maler. This retelling of cultural meltdown and social antagonism during the Thirty Years War proved too ‘contemporary’ for the Nazi regime to stomach, and it was no surprise that the premiere of the complete opera took place in Zurich. Storgårds had the measure of the Angelic Concert with its austere chorales and angular though never impersonal polyphony. The Entombment of Christ was affecting for all its brevity, while the climactic Temptation of St Anthony built surely and impulsively from its stark introduction, through a central interlude of tangible pathos, to a culmination such as blazed forth in affirmation. All credit to Storgårds for ensuring so cathartic an impact.

Richard Whitehouse (photo of Lise Davidsen (c) Ole-Jørgen-Bratland)