Photo, Mark Allan
Saturday, August 5, 2023
Royal Albert Hall, London
We live in strange times – when so few of Paul Hindemith’s works now have only a foothold on the repertoire, such as his Mathis der Maler Symphony and, included in this Prom, the Symphonic Metamorphosis of Themes by Carl Maria von Weber, a cumbersome title not necessarily suggestive of it being a masterpiece of invention and orchestration. (His equally marvellous Concert Music for Strings and Brass, Opus 50, for Boston and Serge Koussevitzky, deserves greater exposure, so too Nobilissima visione.) From the NYO and Carlos Miguel Prieto the Weber transformations had vitality, vivid detailing, variety, swing, atmosphere and swagger, with characterful solos (a word for the flautist in the third movement) and unanimous tuttis, the players responding to requirements with confidence and talent, the uproarious closing pages blazing away.
Sensitive accompaniments (fine violin and horn solos) informed Richard Strauss’s four swansongs in which Masabane Cecilia Rangwanasha (a prizewinner at the 2021 Cardiff Singer) was a little shrill in the highest registers and somewhat square of phrase with a tendency to wander off the vocal line. The final impression, as much down to the conducting, was of stilted renditions (in particular the final setting, of Eichendorff’s ‘Im Abendrot’, dragged laboriously), although Rangwanasha certainly has a generous voice and the ability to engage, if sporadically. For an encore she was in her element for elaborate arrangements by Errollyn Wallen fitting together a couple of traditional numbers close to the singer’s heart, the NYO instrumentalists now a congregational choir.
Of the “Holy Trinity” of American Third Symphonies (the others being by Roy Harris and William Schuman), Aaron Copland’s example (1946, emerging from World War II, and another Koussevitzky premiere) found Prieto emphasising the tension and emotionalism of the preludial first movement, and his attacca into the Scherzo was dramatically convincing, its tricky rhythms and taxing brass-writing negotiated impressively, the Trio a moment of pastoral escape. The enigmatic slow movement was expressive, and then spiky in the dance that emerges, before turning back to chilling uncertainty if growing into the Finale, Copland incorporating his Fanfare for the Common Man to initiate and punctuate music that comes from shadows to culminate in cinematic optimism, Technicolor and widescreen on this occasion, although the outsize NYO (a little tired-sounding by now, if determined) tended towards bombastic. Even allowing that Copland wrote him a Clarinet Concerto, the big-band Benny Goodman encore (amplified?) rather undid the Symphony, and the Radio 3 presenter was overly repetitious.
https://www.bbc.co.uk/programmes/m001p7s2
I find Copland 3 a strange piece. It lacks a centre of gravity and tends to wander in each movement. It has the finale highlight but then Copland overdoes its exposure.
I don’t think th” Symphony” was his natural home.
The presenter also made mistakes and addressed us as though we were in the kindergarten. The brash encore was too much after the symphony.
The Four Last Songs was a bizarre and utterly unsuitable work to include in this teenage-themed programme; Barber’s Knoxville – Summer of 1915 would have been far more suitable. The only possible connection for the Strauss was that these songs received their world premiere in the Royal Albert Hall.
Both encores spoiled the pieces immediately before them!
I have read all the comments so far and have problems with some of them. This orchestra is a tribute to the talent,dedication and passion of these fine young musicians and their tutors. I agree that the programme was not ideal but the orchestra presumably does not choose the programme. I have never found the heart of the Copland Symphony. I heard Marin Alsop dissect the symphony and then conduct the mighty Philadelphia Orchestra at the Verizon Hall and she failed to convince me. The NYO gave of their best to a work that lacks cohesion and meanders endlessly. the Roy Harris Third would have been a fascinating choice,as would Martinu, early Dvorak ,Borodin and Arnold…..and what about the Vaughan Williams’ s Fourth!
The Strauss was less tender and moving than other performances I have heard but still very musical and the Hindemith was exactly the kind of work in which these fine young musicians excel. As to the “inappropriateness” of the ” encores,if you have heard their Mambo encore they let their hair down and seem to enjoy it all. More Strauss songs or a Dvorak Slavonic Dance type work would not have lifted the spirits of audience and musicians alike as I witnessed in Birmingham. Let them have their fun.
The parent ,commented that she was proud of her daughter who was a member of the NYO,I think we should all be very proud of this remarkable ensemble.
Indeed, an incredibly talented bunch of young people.
By the time the NOY reached London, they had already performed these same pieces at Birmingham Symphony Hall (2/8) and Saffron Walden Hall (4/8) with only the 3rd. August for travel and respite / rehearsal. I would defy even a full time professional orchestra not to feel ever-so slightly weary by the time of the Prom, especially given the huge size of the hall to fill, even compared with SH.
At the first performance in Birmingham, the audience responded enthusiastically and with joy to each of the pieces, and with good humour and warmth to the two ‘surprise’ encores.
The soloist was clearly at home with the youngsters,and they with her, and the palpable silence at the end of Im Abendrot for a good 15 seconds or so was profound.
Young people are quite capable of understanding themes of both life and death, as well as themes of joy.
I have no links whatsoever with the NYO, other than attending their performances when they are at Symphony Hall, and it seems to me some of these comments are less than generous towards these exceptionally talented young musicians, some of whom may well enter a musical career after the tenure in the NYO ends.
I wholeheartedly agree.
These young people rehears constantly for 2 weeks solid, often rehearsals finish later in the evening.
I think they were amazing and the encores allowed them to showcase a bit of fun.
My daughter was part of NYO this year in the percussion section and I couldn’t be prouder.
Thank you Clare – in that case, not only your daughter’s performance, but that of the whole percussion section, was outstanding on the night amidst some very demanding pieces. A real engine room of the whole ensemble!
Thank you Peter, I am in awe of all the young players of NYO and their tutors and conductors, they are incredibly passionate and dedicated.
Excuse, the spelling error in rehearse!
I also should have stated that I was agreeing with Peter Lawley’s post.
Peter – None of these exceptionally talented young musicians chose the programme, nor were any of the comments critical of the performances.
If you care to, please check out a Proms prospectus from the 1950s when the BBC Symphony would have to play six much longer programmes in one week – week after week. In those days, that was considered standard fare and musical standards remained high – as off-air recordings of the time testify.