Wednesday, August 3, 2022
Royal Albert Hall, London
Following Entr’acte (for strings) by Caroline Shaw (born 1982) – of pastiches and irritating repetition of simple phrases interspersed by unrelated whimsy (equaling a ragbag of doodles) – Clara-Jumi Kang gave a sweet-toned, open-hearted, poised and intonationally accurate account of Mendelssohn’s Violin Concerto (the E-minor of course, the earlier D-minor is rarely allowed out) that was fresh and enjoyable, accompanied judiciously. Very impressive; the middle movement was lyrically bountiful, and the Finale – ideal tempo, not rushed; in itself, noteworthy – sparkled. No encore, sadly.
Ryan Bancroft did a good job with Mahler Four, the first movement persuasively of different tempos and characters, very well played, whether solos (Tim Thorpe on horn, presumably) or tutti (sinewy woodwinds; refined/outspoken strings). The Devil was in the (heightened) detail in the next movement, Lesley Hatfield’s tone-higher second violin leading the way. Bancroft, having so far encouraged a vivid response went for spacious and intimate in the (here twenty-five-minute) Adagio – lovely oboe contributions – with no lack of passion and distinctions (including a merry and accelerating dance), a forest legend to be told, the end of which brings a Heaven-opening climax and a rapturous envoi, followed by Miah Persson (too closely balanced on the broadcast, orchestra submerged whenever she sang) presenting an older child reporting from the celestial city.
http://clarajumikang.com/biography/
I was lost for words to describe the awful Shaw piece, but you have found them.
‘The cats on the roof make better music [than Caroline Shaw, whoever that is]’. Why they waste our time with these excuses for art, I’ll never know.
I must say I was disappointed with her Mendelssohn (particularly first mvt). The acoustics in the RAH circle doesn’t help, but even listening back on Radio 3, it’s full of unnecessary staccati and weird and poorly judged rubato in places. Could’ve also done with a few more rehearsals with orchestra. I’ve heard a few saying the same and also a few who liked it.
The only thing that lightened up the evening for me was a well-executed Mahler 4.
In view of the comments by Colin Anderson and Pete Sinclair regarding the first work on the programme, one would be interested in reading the evaluation of Ms Shaw’s score by the BBC Reading Panel, set up to ascertain, prior to broadcasting, if the submitted work were good enough as a piece of musical art to be worth performing in the first place, or broadcasting in the second. One assumes such necessary checks and balances were utilised, that Ms Shaw’s Entr’acte was not selected by the BBC National Orchestra of Wales solely on the grounds that she is (a) young, American and fashionable and (presumably) (b) female. What particular qualities does this work possess that led to its inclusion?