more Proms — Messiaen, Varese

Still piling on the Proms — 14 so far I think. 

Disappointments:  Boulez conducting Janacek‘s Sinfonietta (careful, not exciting) and Glagolitic Mass (I am not at all convinced by the reconstructed ‘original’ version, which seemed muddy and diffuse.  Composers’ second thoughts are usually the right ones!). 

Highlights:  Barenboim‘s East-West Divan Orchestra (why did nobody explain their name in the programme?  It’s from a book of Goethe poems, I think) — I feared the worst from his VERY slow upbeat at the beginning of Brahms 4, but it was fine.  Great the way the players all lunge and sway about in a most un-English fashion!  Special praise for bassoonist Mor Biron, who was, I thought, the best of the solosts in Haydn’s Sinfonia Concertante, then excellent in the Brahms, and finally wide awake and full of character in Stravinsky’s Soldier’s Tale at the late Prom — another highlight, thanks to Patrice Chéreau‘s craggy, louche, hilarious, touching and very French rendering of ALL the characters (and the Narrator). 

More highlights:  Jennifer Bate playing Messiaen on the mighty Albert Hall organ:  L’Apparition de l’église eternelle is a piece I have always loved (an early work), its ‘granitic’ columns of sound rising mysteriously from nothingness and then sinking back again, like an immense and slightly sinister science-fiction version of Debussy’s Cathédrale engloutie.  Then La Nativité du seigneur in all its hour-long splendour, quite wonderful and with a shattering ‘Dieu Parmi Nous’ at the end.  Whoooo!

Last night — Tuesday 19 August — was a (very thinly attended) feast of live orchestra (BBC Scottish) plus electronics — more Messiaen (the late and pretty Concert à quatre), Varèse, and Jonathan Harvey (including an ambitious if over-long new work, Speakings, using the orchestra as a giant speech synthesiser:  interesting sounds, but I was put off by the inelegant ‘bending’ noises the players had to make — especially the oboe — which I know was the point of the piece but struck me as undignified…). 

Harvey’s electronic warhorse, Mortuos plango, vivos voco, featuring a bell and his choirboy son, was a knockout — the composer himself presiding, like a gently beaming silver-haired angel, at the sound desk.  But the highlight for me was Varèse’s Poème electronique — an amazing feat of technology for 1958, clever, imaginative, funny, and — at eight minutes long — not outstaying its welcome.

I’m certainly not complaining about any of ‘my’ Proms — a continuing feast of all kinds of music and such a privilege to be able to experience ‘live’.  Time for several more before I have to return to real life!

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photo of Messiaen by Malcolm Crowthers (c)

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One Comment on “more Proms — Messiaen, Varese”

  1. jonathanburton Says:

    No wonder Mor Biron is good — there he was again playing 2nd bassoon in the Berlin Phil!


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