Friday, July 22, 2022
Royal Albert Hall, London
This Prom was overshadowed by the recent sad death of Bramwell Tovey, the original conductor, the concert dedicated to his memory, Barry Wordsworth now on the podium. The Bliss made a short if stirring start, and Zadok the Priest moved along nicely, although the singing sounded strained as if those doing it were conscious of being too few in numbers for the size of the venue. Orb and Sceptre (on Radio 3 only yesterday, in a leaden performance) lacked for swing although the ceremonial section did at least avoid pomp. The Elgar (choral) was sublime, a cut above, the Harris (orchestral) charming, if doing exactly what you’d expect, and I can’t dissent something written by Henry VIII – off with my head – assisted by Wordsworth, although Lord Britten of Aldeburgh showed them both the way, a masterclass in mock-Tudor, and very well played. Parry’s I Was Glad (orchestrated Gordon Jacob?) set the seal on the first part, not quite hitting the spot and not just for choral shortness. Part the Second opened with John Ireland’s Epic March, pretty good if a little careful, but the head I am hanging onto has Boult’s recording engraved on it. Centuries apart they may be but Judith Weir (with organ, Richard Pearce) and William Byrd (a cappella) made a rich coupling, the BBC Singers on home-ground, and then a few glasses of Water Music were served up courtesy of Hamilton Harty, an instructive reminder of how Handel used to sound, and still can, before the Singers, remaining in the chapel, returned to still the air with the otherworldly tones of Silence and Music. Cheryl Frances-Hoad’s new work (premiere) – vocal soloists, chorus and orchestra – made a big impression in its supplication, beauty, etherealness and powerful crescendo. Finally, Elgar’s Pomp and Circumstance March No.4 – don’t tell anyone but I think the trio tune is infinitely better than the one that became ‘Land of Hope and Glory’.
https://www.bbc.co.uk/programmes/m00195gx
Bliss: Jubilant Fanfare
Handel: Coronation Anthem No.1: Zadok the Priest
Walton: Orb and Sceptre
Elgar: O hearken thou
Harris arr. Manners: The Windsor Dances
Henry VIII: Pastime good companie
Britten: Courtly Dances from Gloriana
Parry: I was glad
Ireland: Epic March
Judith Weir: I love all beauteous things
Byrd: O Lord, let thy servant Elizabeth, our Queen
Handel: Water Music (excerpts)
Vaughan Williams: Silence and Music
Cheryl Frances-Hoad: Your Servant, Elizabeth (BBC Commission; first performance)
Elgar: Pomp and Circumstance March No. 4
BBC Singers
BBC Concert Orchestra
Conductor Barry Wordsworth
I don’t with to appear other than thankful (up to a point) that some kind of recognition of Her Majesty’s Platinum Jubilee year was marked at this Season’s Proms, but I have to say I think this programme demonstrated a profound lack of knowledge and imagination. Why was there not a programme of music dedicated to Her Majesty? – Bliss’s ‘Welcome the Queen’ – written in 1954 to welcome HM on her return to this country after many months absence touring the Commonwealth (she and Prince Philip came up the Thames on the Royal Yacht, passing under Tower Bridge, opened for the occasion) – this is a terrific march, the equal of ‘Crown Imperial’; Malcolm Arnold’s ‘Commonwealth Christmas Overture’ (15 minutes) with Jamaican steel bands and London children’s street songs, Bax’s ‘Maytime in Sussex’ for Piano and Orchestra – written for and dedicated to Her Majesty’s on her 21st Birthday in 1946 – a beautiful 10-minute piece – and Elgar’s ‘Nursery Suite’: written for HM and her Mother and Sister in 1931 – Her Majesty is the last surviving person to have met Elgar (she was at the recording sessions and asked Elgar to repeat ‘The Wagon Passes’, plus the world premiere of Malcolm Williamson’s Fourth Symphony (written in 1977 for the Queen’s Silver Jubilee but not finished in time) – or Peter Maxwell Davies’s Ninth Symphony (with street bands interrupting the flow of the first movement) – the lack of imagination and knowledge displayed in the repertoire for this year’s so-called ‘Royal Prom’ tells us all we need to know.
David Matthews postulates (sorry horrible word) that HM The Queen may have been only two generations from knowing Beethoven. She met Elgar, as Bob rightly says, and Elgar just might have met someone who met Beethoven.
For a Sovereign whose love of music is not her strongest point it nevertheless tickles my fancy to support David’s incredible suggestion.
As for the concert who on
earth dreamt up this rag tag and bobtail programme.
It would have caused not only the Queen but half the audience to enter their slumbers.
I wish the radio presenter had not been so keen to speak as soon as any one piece had finished, she became intrusive and irritating.
Interestingly, Edward, Max told me that the Queen has perfect pitch! Not that that in itself makes her particularly a music-loving Monarch, but she is an excellent listener, and always discussed with him the Christmas carol that he wrote for her every year as Master of the Queen’s Music – a gift given to her by him from her music-loving subjects. When she came to the Proms about 15 or so years ago and mingled with the Prommers during the interval, one or two of them told me she knew what she was talking about – not just politeness but genuine interest.
By the way – I should have added that neither Ireland’s Epic March nor Elgar’s Fourth Pomp & Circumstance March were composed for Royal Occasions. More BBC misleading nonsense.
I was staggered that the “choral” singing from such an experienced group was so poor – someone should mention to them at their next meeting/rehearsal that their concerts are not opportunities for individuals to audition as soloists. There was little listening to each other to blend sound – instead there were too many forced voices seeking attention with unhappy results
Yes, the singing was poor and tried too hard at times, surprising for the BBC Singers, certainly not enough voices for Zadok the Priest or the Parry.