Punk Beethoven turned out to be fast and furious. MusicAeterna play on period instruments so the sound is different and there is little or no vibrato. The first movement of the Symphony No 2 was promisingly reminiscent of Furtwängler, the musical pulse unrelenting, then the jokey Sturm und Drang effects and it seemed possible we were in for something extraordinary. The Larghetto flowed but it was only in the last movement, Allego Molto, that the limitations of Teodor Currentzis’s approach became clear. Fast and furious did not allow slowing of the pace either for musical effect or to allow good phrasing of the solo ornamentation in the woodwind, so on the period instruments these ornamentations became garbled or lost.. But an amazing crowd-pleasing vivacity and the strings of MusicAeterna have fantastic ensemble.
Paul Lewis put the magic back in to the familiar thrills of the Emperor concerto. The style of this performance was Beethoven as forward-looking: Chopin rather than Mozart, romantic virtuoso rather than contrapuntal baroque fireworks. The persuasive runs and trills of the first movement weren’t simply exercises from a piano manual, Paul Lewis made them breathe and sing their music, highlighting the musical themes in the interplay between the lines of music in the two hands. It seemed there were some shortcuts in ornamentation but this was a live performance with television’s scrutiny included.
We heard an exhilarating and inspiring performance of Beethoven’s Ninth Symphony in the tradition of Solti and Guilini. Donald Runnicles and the World Orchestra for Peace explored Beethoven’s counterpoint in the first movement in forensic but flowing detail, plenty of shape, the conductor encouraging the flow and counter flow of the musical voices with just small movements of his baton. Beethoven’s counterpoint was radical and miraculous at its premiere and is still a joy to behold even now.
One Sunday, two prom concerts at the Royal Albert Hall:
Prom 11: Mahler Symphony No 8, Symphony of a Thousand
At least five hundred in the two choirs plus children’s voices, a hundred and fifty or more in the orchestra with doubled up first desks for the woodwind and augmented strings, doubled up soloists, Mahler’s Symphony of a Thousand packs an undoubted punch. Popular too, probably a thousand queuing outside for the many promenade tickets for sale on the door - this prom was one of the first to sell out when booking for seats opened online. And the capacity audience were not disappointed at all.
The wonderful juggernaut that is the BBC Proms continued tonight with Olivier Messiaen’s gigantic Turangalîla-Symphonie (1949) performed by the BBC Symphony Orchestra conducted by Sakari Oramo. It’s a huge, daunting score and the BBC Symphony Orchestra gave an energetic and pretty accurate account. I teamed up with a fellow promenader, a francophone student from Kings College London whom I had met at yesterday’s prom. He’d borrowed the full score of Turangalîla-Symphonie from the uni library and, following it together, we stayed pretty much on the page all the way through. He’s a pianist so followed the keyboard parts and I mostly followed the orchestra, that way it worked out for us both (merci, mon ami).