Monday, 21 November 2011
Pre-concert talk tension
The sensible thing to have done at that point would have been to book in the pre-concert talks as normal and take a break from this season. But somewhere my adventurous (for which read reckless) head took hold and I decided I've have a go at a beginner's guide to a concert. Since I'd had the most input into the Halle's concert on 24 November, that seemed the obvious slot to pick...et voila!
Of course, it's obvious enough until you sit down to write the thing! Yes, I knew all the pieces pretty well, and they all had great stories attached to them. As a group of composers, Dukas, Jongen , Faure and Respighi also fit together really well, so there wouldn't be a problem finding enough to say about them. But when you've got just half an hour to cover the essential points with some musical illustrations and a bit of anecdote, it really hits you how much of this game is about leaving stuff out. And pitching it correctly - not being too technical, or basic, formal or informal, was a real headache.
I read my first draft out to Deb, my wife, as we drove down to London on Saturday. Speaking at a speed that would be far too quick for a lively acoustic like the Royal Concert Hall, I managed it in 29 minutes. But that left out six music clips and a five minute chat with the organist, Jonathan Scott. Yesterday afternoon saw the text reduced by a page, making it just about workable. But I'll still need another evening spent on it tonight, to get it to a comfortable length. And I've got a handout to make, too. All in all I suspect Ill have spent about a week, on and off, on a talk that will be over in thirty minutes. Hopefully it'll all be worth it but I reckon that next time I'll stick to a conversation piece.
If you're curious, my first ever pre-concert talk (in the proper sense) will be at 6.30pm on Thursday 24 November in the auditorium.
Sunday, 30 October 2011
What a difference a year makes
http://www.youtube.com/watch?v=8MixP8cCi9Q&feature=youtube_gdata_player
We don't, of course, have a pipe organ like that in the RCH; indeed, there aren't any pipes at all, but I'm confident that Jonathan Scott can work similar magic on our electronic organ as he did with the Saint-Saens in June last year. It's one of his favourite pieces but he doesn't get that many chances to perform it because, almost inexplicably to me, Jongen's piece rarely gets programmed. But if you've never heard it then you're in for a treat. It's one of those pieces I listen to very often because its blend of rich Romanticism, exotic impressionism and sheer, virtuosic brilliance never fails to generate a tingle.
Anyway, if we do as well at the box office as I think we might, then we will have enjoyed a significantly stronger start in 2011-2012 and, knowing how valuable good news is in times like these, that's something worth getting up for at 6.45/7.45am on a dreary Sunday morning.
Bye for now,
Neil
Thursday, 15 September 2011
A tale of three Proms...and one amazing house
Last week I took the chance to get down to London to hear some of the BBC Proms. The thought of making several separate trips down and enduring the late train back (and by 2.00am it does start to feel like the slowest train in history) was enough to prompt me to do three in a row and stay in London for a couple of days. It's not as expensive as you might think. Over the last couple of years my wife Deb and I have discovered the joys of LSE accomodation. It has a half dozen colleges dotted around central London and they're often staggering value - my last two nights, about three minutes walk from Sadlers Wells - cost me £32 each, including very big breakfast, part of which got recycled into lunch. It's not the Ritz, but it's not bad either - maybe one to consider next time you're doing a cultural overnighter in the big city.
And the fringe benefit of staying a couple of nights was having the time to experience a few of London's special places. Before I went, you may remember me asking for a few suggestions from the Nottingham Classics audience - which proved to be really rewarding. Of the places suggested I made it to two characterful pubs - the George Inn in Southwark (a 17th century courtyard inn owned by the National Trust - thanks to Anna Lloyd for the recommendation) and the Princess Louise in Holborn (an opulent Victorian drinkery) - a sophisticated Italian 'tapas' restaurant, Polpo, in Soho (thanks to Peter Speakman for both of these), and a really astonishing museum. I'd never been to the Sir John Soames Museum, in Lincoln Fields, just off Holborn, but the fact that four of you suggested it meant that it went to the top of the list. And what an amazing place it is! - a monument to a great architect's passion for antiquities with every room crammed with great paintings, exquisite architectural models and huge chunks of Greek and Roman temples, sometimes suspended in improbable places. Here's a snapshot to give you a flavour.
Poor Sir John ended his days a rather bitter man, alienated from his sons and something of a recluse but he certainly left a wonderful legacy behind. The picture room, containing treasures such as paintings by Canaletto and Hogarth is a real eye-opener, not least because the room itself has massive panels which actually function as extra walls for hanging even more great paintings. It was one of the highlights of the last couple of years for me so thanks to Peter Speakman, Kath Jones, Pauline Hillyard and Dorothy Kurpanik for the recommendation.
As for the Proms themselves, I really couldn't have done much better. I did the Pittsburgh Symphony on 6th September, BBC Symphony on 7th and Philadelphia on 8th, with a late nighter by the BBC big band on 7th. They all had something special to enjoy, whether in Anne-Sophie Mutter's stratospheric lines in Wolfgang Rihm's Gesungene Zeit or the Pittsburgh Symphony's flawless horn section in Mahler's 5th. Even Sir Harrison Birtwistle seems to have taken on the status of 'grand old man of music' these days, judging by the ovation after his angular Violin Concerto. Charles Dutoit's peerless stick technique really impressed me in the Rachmaninov Symphonic Dances and there was real sheen to the legendary Philadelphia strings. Perhaps the only disappointment was David Robertson's rather earthbound The Planets but that was followed by the BBC Big Band's tribute to Stan Kenton, whose often-derided progressive jazz was fiercely exciting, harmonically rich and played for all it was worth by a crack ensemble. Claire Martin's effortless vocals added some real class to a really enjoyable event. Band leader Jiggs Whigham certainly approved of the red dress!
After four concerts and two days of almost non-stop walking around the city I was ready for a return to the office chair, but, as ever, it was a great privilege to hear some of the world's great orchestras in some heavyweight repertoire. Inspiring, too - it certainly got me in the mood for thinking about the shape of next season.
Which is a big one, of course. 2012-2013 is the 10th anniversary of the Halle's residency in Nottingham, a very important moment in the history of Nottingham Classics and the point at which things really began to look up for the series. The times we're in and the squeeze on our finances will mean we'll have to be imaginative but we'll definitely be celebrating the anniversary throughout the season. I've got almost half of the concerts booked in now and it's looking really exciting so far, but there's still a long way to go. And not forgetting that we start the 2011-2012 season in a fortnight with the Halle and the wonderful German cellist, Alban Gerhardt. Alban is not only a very exciting performer but he's also a really engaging commentator on music and on the ups and downs of being a soloist. His blog is always worth reading - you can sign up at http://www.albangerhardt.com/ and you can hear his thoughts on Dvorak's Cello Concerto which he thinks may be the best concerto ever written in a video on YouTube - http://www.youtube.com/watch?v=kkjEbF0ulOw - highly recommended, not just for his insights into the piece, but also for some demonstrations of his prowess as a performer.
That's it for now. More to follow in a fortnight.
Neil
Monday, 10 January 2011
Monday mayhem - it must be the end of the holiday
Thursday, 4 November 2010
Cometh the hour, cometh Cordelia...and Natalie
Cordelia Williams launching our new Sunday Morning Piano Series on 31 October
Another day at the office closes so whilst I wait to go and see Habit of Art next door I thought I'd use the time productively and post another entry. One thing that strikes me about this season - by adding what seems like just a few concerts it's made things feel a whole lot busier. On Sunday we were watching Cordelia Williams launch our Sunday Morning Piano Series and then, two days later, Natalie Clein was giving her first performance of Barber's cello concerto with sinfonia ViVA. And next Monday Lars Vogt is with us for our first evening recital.
Not that I'm complaining. I'm sure that if you were there to hear Cordelia's performance you'll have felt as privileged as I was to hear pianism of that quality and enjoy her assured and engaging introductions to the pieces. I have to thank Kevin Appleby from Turner Sims concert hall for this because, whilst I was looking for some rising stars to perform in the Sunday Series, he gave me the tip-off that Cordelia was a brilliant talent and also a persuasive advocate for the piano. And right from the start she was really great to work with and brought bags of positive energy to the project. She's now working on a project called Cafe Muse in London, where she's taking the classical piano into cafes and bars in search of new audiences. To find out more visit http://www.cordeliawilliams.net/. I'm sure that London's cafe culture is in for a treat. I'm still savouring the memory of Gaspard de la Nuit, a big favourite of mine and one of those pieces that seems to require an extra brain to perform (the photo above is my rather poor effort to capture it on camera). The same could be said of Jenny Lin's late nighter on 7 October - another astonishing performance.
Last night's performance by sinfonia ViVA gave us more evidence of how less can be more. A smaller orchestra than our usual bands performed to a smaller audience (still over 1000, but I always find it difficult to take comfort in that) but for me it was one of the most rewarding concerts I've heard at the Royal Concert Hall. For one thing, the programme - a rich mix of diverse twentieth century masterpieces - really played to ViVA's strengths. The impact of Andre de Ridder in inspiring the kind of incisive and committed performance we heard last night has been deep and far-reaching. The dialogue with Natalie in Barber's concerto was as gripping as an episiode of Mad Men with inspiration flowing in both directions. And it was fantastic to see so many people stay on for the After:Hours performance. Those who did will certainly have had their money's worth from Natalie, whose Bach Cello Suite No.2 was wonderfully articulated throughout. It's great to see an artist so immersed in a performance and able to connect so stringly with the audience. Speaking to her afterwards she remarked once again on how warm the audience is here. And she's right, of course.
One last thing - I'm delighted to be getting a few comments now on how good the Steinway is sounding now. It's taken a little while to settle down but, following a day of fine-tuning from Ulrich Gerhartz, Steinway's Director of Concert and Artists Services (a really nice chap by the way) it is now in fine form. Which is just as well because Lars Vogt will be working his magic on it this Monday.
I've got 20 spare minutes now - better get the next press release written! Bye for now.
Neil