Photo, Chris Christodoulou
Sunday, August 6, 2023
Royal Albert Hall, London
The short-lived Lili Boulanger’s D’un matin de printemps (1918) gets programmed quite often these days whatever the season. Her generally carefree impression of a spring morning is skilfully painted, scored with clarity, a watercolour mostly bright yet not without a passing dark cloud, nicely framed and exhibited by John Wilson and the Sinfonia of London.
Alim Beisembayev (winner of Leeds two years ago) replaced Benjamin Grosvenor and gave an account of Rachmaninov’s C-minor Piano Concerto that presented it familiarly with much artistry, not least a gentle touch that illuminated the intimacy of the slow movement. Elsewhere, without resorting to indulgence or showmanship, Beisembayev brought aristocratic and agile qualities to bear, not revelatory but refreshing, and with subtle use of dynamics, all of his exposés making this ubiquitous work seem new-minted, for which Wilson and the Sinfonia played their part with a range of intensities and phrasal ‘pulls’ that belonged to the music and complemented the pianist, Beisembayev going on to electrify the Hall with ‘Infernal Dance’ from Stravinsky’s Firebird, presumably in Guido Agosti’s transcription, Beisembayev’s fingers amazing in their speed and accuracy.
Walton’s magnificent First Symphony – premiered twice, 1934/35, second time with the Finale, both performances conducted by Sir Hamilton Harty who also recorded the work – received a Sinfonia/Wilson outing that didn’t quite hit the spot – a first movement that was vital enough if short on underscored passion (yet with a several-bar passage of daring pianissimo that astounded) and then a Scherzo fleet enough if short on malice. However, the melancholic Andante was deeply felt and ardent, shifting sounds that suggested a love that has slipped through the fingers lost forever, although the final movement was first and foremost about speed and, however well-prepared and -played, with detail not always pristine (surprisingly), and for all the energy and power in evidence, as well as classy solos and unstinting tuttis, these were not enough, for overall there was little to underpin why this masterpiece should be as it is; it’s rare that Walton One comes across as glib.
An encore seemed unlikely, but we got one nonetheless, an orchestration by Nelson Riddle of George Gershwin’s Prelude No.2 for piano, languorous and laidback, perhaps too slow, although in fact finding Wilson at-one (more or less) with Riddle himself in 1959.
https://www.bbc.co.uk/programmes/m001p7wm
https://www.colinscolumn.com/john-wilson-sinfonia-of-london-record-rachmaninovs-second-symphony-for-chandos/
Georgia Mann’s reaction to the Walton last night was excessive and unwanted. I switched off while she was being so irritating. Therefore I missed the Gershwin. Thanks! Can her radio 3 bosses please tell her to SHUT UP!
Too right.
So right, Betty, BBC Music has lost the plot. It’s all yap, yap, yap, taking millions of intelligent listeners for fools. And BTW, I agree that John Wilson failed to pull off the Walton in a way that the work truly deserves.
In the UK, the high music-broadcasting standards of yesteryear are being progressively sold down the river.
i have now almost wholly transferred my listening allegiance to FRANCE MUSIQUE, where one can enjoy listening to educated professional announcers who treat their audience as equals, and who explain the historical background and important features of programmed works with not a hint of condescension.
France haș always had deep-seated respect for high culture. For several decades from the 60s onwards, our own country boasted a musical climate that was the envy of the world, and Radio Three reflected the musical triumphs of that era. Now, much of what was then gained has been grossly down-trodden by politicians whose primary concern is to court popular favour and to justify cost-cutting on the grounds of austerity. Worse, to that end they appoint compliant and ill-educated minions to achieve their aims. The system now serves the lowest common denominator.
I find it salutary to contemplate how, following WW2, when the country was well-nigh bankrupt, money was somehow found to set up the NHS, to complete massive house-building projects, and – gradually – to nurture the arts anew after the depredations of the war years.
’nuff said
Quite an attack on the BBC… and disagreeable. The BBC proms is a superb festival, all broadcast and at least 2 concerts televised each week. The BBC is required to educate and entertain, and that doesn’t mean only to the high and mighty elitists.
I thought Wilson’s 1st movement was thoughtful, and delivered fine detail, before the concluding brashness. Maybe the scherzo was not malicious enough, but Wilson performs the score, preferring accuracy rather than being out of control. (When I performed it I was at times quite lost in the fast fast tempo. )
The opening of the 3rd mvt was baleful, and searingly eloquent, gripping my attention, setting up the majesterial opening of the finale. This was a live concert, not to be judged as a CD, and Wilson did allow his orchestra to let rip for the conclusion.
The BBC gave us this, and all the variety of genres and styles that all age groups and people can engage us with – the development of 10 pieces supported a stressed education sector, and new works including new technologies are breaking out from the otherwise staid sector, sometimes at different times of day.
It is a narrow tightrope the BBC is traversing, and should be praised in their attempts to diversify and engage.