Well, his 75th birthday was a few days ago, but his birthday gala concert was this evening. One of my favourite conductors conducting one of my, if not the, favourite bands. I knew I had to be there.
I checked the programme before I went out and felt I was incursing into unfamiliar territory. Still, how better to discover new pieces than live, at the Royal Festival Hall. The first piece was totally unfamiliar - Stele (pronounced steely) by György Kurtág. The orchestral line up was impressive, including for example alto and bass flutes, which I have never heard of before, let alone seen. The percussion was especially impressive - five timpani, and lots of sound effect type instruments, tam-tam, whip, wind machine, and various tuned percussion, along with the usual. The piece was interesting, but I'm not going to rush out an buy a CD.
Next up was Beethoven's Piano Concerto No. 3 in C minor, soloist Alfred Brendel. What is there to say? I don't actually know this piece but Beethoven's style is unforgettable. His orchestration is second to none, and even when the melody is unfamiliar, it is definitely within the comfort zone of familiarity. Alfred Brendel is a master and his playing was sublime. But yet, yet, it was a pleasant concert piece, and I enjoyed it, but it won't be on my wishlist.
After the interval was a reminder of why I love Christoph von Dohnányi and the Philharmonia. Ein Heldenleben - a Hero's Life (I think; I'm translating this with my non-existent German) , a tone poem. It's taken me a long time to get into Richard Strauss, and this piece perhaps explains why, and also explains why he is growing on me. It's challenging music, at least for me. There's something about it - I know what I mean but I'm not sure I'm entirely correct in saying dissonance - certainly some intervals and chords you would never hear with Beethoven.
But it's loud, and raucous, with a wonderful contrast in some reflective solo violin passages, played by James Clark, the Leader, or as he is termed in an unnecessary adoption of an Americanism, Concert Master. It was played with passion and fire, by a massive orchestra. The orchestration was brilliant, in an entirely different way from Beethoven. I kept looking for the organ, but there wasn't one, it was how the brass and harps, in particular, combined. I so wish it were possible to do a live rewind of a concert, without going to Basingstoke tomorrow night. I don't suppose this piece will be performed again in London for another ten years.
A few weeks ago I read two people's opinion on what makes a good conductor. The first is that you don't notice him. Secondly, watch the orchestra, and if they are watching the conductor, he's good. If their head is buried in their scores, they know they're on their own.
Well, even though I am a fan of Christoph, I quite forgot he was there for most of the concert. Then I recalled what I had read, and I watched the orchestra, who were watching the conductor closely. I am definitely going to put this piece onto a wish list. Either with von Dohnányi conducting or with von Karajan.
Looking at the programme, the more unusual instruments included Alto Flute, Bass Flute, E flat clarinet, bass clarinet, contra bass clarinet, contra bassoon, Wagner Tubas, bass trombone, euphonium, pianino, celeste and cymbalom. But don't tie me down to what went in the Kurtág and what in the Strauss.
Next week will be some easy listening - Finlandia, Mendelssohn's Violin Concerto, and The Planets. Oh, and a trip to Covent Garden.
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