London Philharmonic Orchestra at the Royal Albert Hall review ****

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London Philharmonic Orchestra, Vladimir Jurowski, Alina Ibragimova (violin)

Prom 71, Royal Albert Hall, 6th September 2017

  • Igor Stravinsky – Funeral Song,
  • Igor Stravinsky – Song of the Volga Boatmen,
  • Sergei Prokofiev – Violin Concert No 1 in D Major
  • Benjamin Britten – Russian Funeral
  • Dmitri Shostakovich – Symphony No 11 in G Minor “the Year 1905”

What with one thing and another, but mostly my stupidity at missing the booking opening, I only made it to one RAH Prom this year and missed out on two or three that I really wanted to hear/see. Never mind BBC Radio 3 came to the rescue with their recordings. BTW I WILL PERSONALLY KICK SHIT OUT OF ANY POLITICIAN WHO HAS THE TEMERITY TO FUCK ABOUT WITH THE BBC. I can’t move quickly but I am a big lad so you don’t want to get in my way. Understood. Just joking. I think.

Moving swiftly on. The main reason for picking this Prom was the opportunity to hear the LPO with personal favourites Vladimir Jurowski (a man who seems to conduct with his shoulders and head as much as his hands and eyes, riveting from my choir perch), and the meticulous violinist Alina Ibragimova, having a crack at some hardcore C20 Russian repertoire. And specifically Shostakovich 11 which gets an outing now and then but not regularly enough to miss. Having said that I still can’t decide how much I like it.

Before the main event we had some early works from clever clogs Stravinsky. The score for Funeral Song, Op 5, was only recently rediscovered and is a memorial to teacher and mentor Rimsky-Korsakov. The latter’s influences are fairly clear, (we must thank N R-K for Stravinsky’s mastery of orchestral colours), but, for me,, the louder voice was Wagner, not a good thing to my ears. This was followed by Stravinsky’s arrangement of the Song of the Volga Boatmen, which is a rousing, if very short, ditty which served as the original Russian anthem post 1917 Revolution.

I don’t know if I will ever “get” Prokofiev. I have heard some convincing performances of his works recently, the Quintet and Martha Argerich playing the Piano Concerto No 3 (mind you I reckon Martha could leave you open mouthed in admiration playing Happy Birthday on the spoons). And the piano sonatas I remember seeing performed have been interesting. But there may be too many ideas in the music for me. My ears and brain crave repetition and structure. There is enough rhythm in Prokofiev but there is a lot of flitting about. So I may not be up to it. Still I will keep trying. This Violin Concerto created the same confusion for me. Ms Ibragimova puts line and detail into her performances and really convinces. There were passages of real interest, even when it all got a bit too lyrical, and there were such clever twists and one blinding fast passage, but once again it was just too “bitty”. Sorry. Moreover, whilst I was close enough to hear the violin clearly even with my ropey ears, I suspect the gallery punters might have been working a bit harder.

In contrast to Prokofiev Britten is dead easy for me to understand. Russian Funeral is the only piece he wrote for brass band and it is an open, Mahlerian march bookending a disquieting scherzo. The march is taken from a Russian funeral song (which appears again in the DSCH symphony), hence the title, and the whole thing reflects Britten’s anti-war stance. I loved it.

Now the main event. It is a heck of a slab. An unbroken hour, four movements, slow, faster, slow, fastish. It is based on four revolutionary songs and takes the events of the failed 1905 uprising. The programme is pretty clear, The Palace Square in winter as the revolutionaries march to petition the Tsar. The fighting starts, the Imperial Guard opens fire and the assembly is brutally quashed. We then mourn the thousand dead and finally look forward to when the proletariat will succeed in throwing off the yoke of their oppressors. Now there are some absolutely belting tunes in all of this, but it is a long, drawn out affair. This is one of the DSCH symphonies that drifts towards the cinematic which is fine except we have no pictures for the eyes so the ears get a bit of an overload. And the contrast between the icy despairing chords of the Adagios and the martial drumming of the Allegro movements is a bit overwrought. As ever with DSCH you can sometimes have too much of a good thing.

Having said that it certainly clears out the passages and conjures up an epic vision of the struggle. There isn’t very much of the sardonic or sarcastic audible here, or if there is, it is well hidden, so I can see why this went down a treat with the big boys in the Party when it was served up in 1957 as part of the 40 year celebrations. DSCH did make a few veiled comments pointing to what wad happened in 1956 in Hungary but it didn’t leap out. But then the old chap never did give much away. From the perspective of the centenary of the Revolution though it does feel a bit odd especially when you know what DSCH delvers when he nails it. Can’t fault the playing though and Mr Jurowski wisely gave as much room as was needed to the expansive phrases. No point rushing this edifice as it isn’t going to make much of a difference. And when needed he and the band turned it up to 11, indeed right at the end when the bells come in, we were treated to a 12 on the Tufnel scale.

When all is said and done, and despite the shortcomings, No 11 is still an extraordinary wall of sound and the LPO nailed it. Thanks lads and lasses.

 

 

 

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