|
martle
|
 |
« Reply #15 on: 23:17:43, 24-04-2007 » |
|
Freshly grilled chorizo (a little Granados, for my taste)
Sea bass with buerre blanc and tarragon (La Mer)
Venison (Rite of Spring)
Double Gloucester Platter (Enigma Variations)
Tarte tatin (Tartinni)
chocolates de maison (Benedict de Mason)
|
|
|
|
|
Logged
|
Green. Always green.
|
|
|
|
roslynmuse
|
|
« Reply #16 on: 00:16:13, 25-04-2007 » |
|
Nice!!!
Roasted garlic with goat's cheese and red peppers (Ravel Daphnis and Chloe)
Pineapple sorbet with a hint of chilli (Stravinsky Les Noces)
Swordfish steak (Sibelius 5 - not sure why!)
Roast beef, Yorkshire pudding etc etc (Tippett Ritual Dances)
Tarte au citron (Messiaen Petites liturgies)
Coffee - dark roast (Andriessen De Staat - 35 mins of hyper-stimulation!)
|
|
|
|
|
Logged
|
|
|
|
|
Tony Watson
Guest
|
|
« Reply #17 on: 00:31:46, 25-04-2007 » |
|
The order of the programme and any inherent themes count for nothing against the quality of performance, imho.
|
|
|
|
|
Logged
|
|
|
|
|
Ron Dough
|
|
« Reply #18 on: 12:57:31, 25-04-2007 » |
|
Intelligent use of soloist: saw a concert some years ago at the Hexagon in Reading with Evelyn Glennie as the soloist in MacMillan's Veni, Veni in the first half. I wish I could remember the whole programme, but I do know that the final item was PMD's Orkney Wedding with Sunrise, which as many members will be aware, includes a final section with an important Highland Bagpipe solo. As this moment arrived, out onto the stage marched Ms. Glennie, in full highland dress, playing the solo part as to the manner born....
|
|
|
|
|
Logged
|
|
|
|
|
Don Basilio
|
|
« Reply #19 on: 17:07:54, 25-04-2007 » |
|
Surely the overture, concerto, interval, symphony (hereinafter ocis) plan is based on the German romantic premise, which I am sure Mr Grew would heartily condone, that the symphony is the highest possible form of music, and the (typically romantic piano) concerto is a bit more indulgent, although clearly not as frivolous as opera? (Obviously the highest compliment to Herr Wagner's great works is that they are symphonically conceived and convey Very Important Ideas, not that they are the nearest thing in the classical repertoire - for some, not me - to four hour orgasms.)
Ocis presumes that the core repertoire is C19 and teutonically inspired. Since 1960 there has been plenty of interest in pre-romantic and even occasionally post romantic music and indeed vocal music, so the formula is not inevitable. When you do have a concert of C19 music (and since it requires the same musical resources and techniques it makes sense) the ocis plan seems highly appropriate - start with the short piece and end with the long one.
|
|
|
|
|
Logged
|
To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
|
|
|
|
pim_derks
|
|
« Reply #20 on: 19:38:34, 28-04-2007 » |
|
Here's an interesting fact about Jasha Heifetz and the order of concert programmes: http://listserv.cuny.edu/Scripts/wa.exe?A2=ind9605c&L=opera-l&P=4257When Heifetz gave a concert in Amsterdam in 1956, Otto Klemperer declined to conduct because he didn't wanted to end the concert with a violin concerto. In the end, it was Eduard van Beinum who conducted this concert. |
|
|
|
|
Logged
|
"People hate anything well made. It gives them a guilty conscience." John Betjeman
|
|
|
|
Mary Chambers
|
|
« Reply #21 on: 20:33:18, 28-04-2007 » |
|
That is an interesting story, but it seems to be about Josef Krips, not Otto Klemperer.
|
|
|
|
|
Logged
|
|
|
|
|
pim_derks
|
|
« Reply #22 on: 20:48:12, 28-04-2007 » |
|
That is an interesting story, but it seems to be about Josef Krips, not Otto Klemperer.
Yes, it is. But I only wanted to add that Klemperer also had problems with Heifetz.  |
|
|
|
|
Logged
|
"People hate anything well made. It gives them a guilty conscience." John Betjeman
|
|
|
|
pim_derks
|
|
« Reply #23 on: 11:37:59, 30-04-2007 » |
|
In my opinion, orchestral concerts are relatively short these days (in comparison to Toscanini's concerts, for instance).
|
|
|
|
|
Logged
|
"People hate anything well made. It gives them a guilty conscience." John Betjeman
|
|
|
|
marbleflugel
|
|
« Reply #24 on: 11:51:09, 30-04-2007 » |
|
In my Bournemouth days the BSO@the dive that was the old Winter Gardens started gigs at 8.15 for a couple of seasons in the 80s, the thinking being to give people time to change and eat and/or get off the beach, worked very well but perhaps a thing of its time-the intervals were either shorter or non-existent depending on the programme.
|
|
|
|
|
Logged
|
'...A celebrity is someone who didn't get the attention they needed as an adult'
Arnold Brown
|
|
|
|
roslynmuse
|
|
« Reply #25 on: 12:01:23, 30-04-2007 » |
|
In my Bournemouth days the BSO@the dive that was the old Winter Gardens started gigs at 8.15 for a couple of seasons in the 80s, the thinking being to give people time to change and eat and/or get off the beach, worked very well but perhaps a thing of its time-the intervals were either shorter or non-existent depending on the programme.
Well, part of that idea has been adopted by a certain Mr Wright... |
|
|
|
|
Logged
|
|
|
|
|
smittims
|
|
« Reply #26 on: 12:13:43, 30-04-2007 » |
|
Traditionally the 'weightiest' work tends to come last,so it could be a concerto,e.g.one of the Brahms' piano concertos. otherwise it can be a bit like tasting a dry red wine after a sweet white one. Mozart's little A majorSymphony K114 wouldn't be heard at its best after Mahler 6.
That aside,I like Beecham's programmes,where Handel might follow Beethoven, Sibelius, Wagner or Delius. He often finished with a 'lighter' work,e.g.one of his Handel suites. There is a Prom where he played Wagner in the first half and Bizet's 'L'Arlesiene' in the second.
.
|
|
|
|
|
Logged
|
|
|
|
|
Reiner Torheit
|
|
« Reply #27 on: 23:36:46, 30-04-2007 » |
|
Traditionally the 'weightiest' work tends to come last,so it could be a concerto,e.g.one of the Brahms' piano concertos. otherwise it can be a bit like tasting a dry red wine after a sweet white one This can be a very successful formula. However, another approach is to position the work that needs the most concentration from the audience directly after the interval - when the audience are "warmed up" by the first half, but have had a break of 15 mins or so to clear their musical "palette" and come to the "main course" of the evening with appetite ready and sharpened  After which a "sorbet", or even a "pud" can be quite welcome... this is a matter of judgement from the conductor. For example, after a major concerto, you might like to hear a lighter work where the entire orchestra is "working", rather than primarily accompanying a soloist. However, if the "main course" was Tchaikovsky 6, you probably wouldn't want to hear anything at all after that - to do so would be an act of terrible musical sabotage, although I don't put this past some conductors |
|
|
|
|
Logged
|
"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
|
|
|
|
pim_derks
|
|
« Reply #28 on: 08:29:08, 01-05-2007 » |
|
However, if the "main course" was Tchaikovsky 6, you probably wouldn't want to hear anything at all after that - to do so would be an act of terrible musical sabotage, although I don't put this past some conductors Is it true that in Russia, the audience applauds after the third movement of the Pathétique and is silent after the fourth movement? I've read this somewhere, but I don't know if it is true. |
|
|
|
|
Logged
|
"People hate anything well made. It gives them a guilty conscience." John Betjeman
|
|
|
|
Martin
|
|
« Reply #29 on: 08:49:35, 01-05-2007 » |
|
Notwithstanding the foregoing (lovely archaic phrase that, isn't it?) I feel that putting the Haydn symphony at the start of the concert may characterise that work with a lightness that is unwarranted. I suppose that is always going to be a problem with almost any opening piece when the audience's attention is not sufficiently concentrated on studied listening.
|
|
|
|
|
Logged
|
|
|
|
|
