The programme was Vaughan Williams: Fantasia on a Theme by Thomas Tallis, Respighi: Concerto gregoriano, and Mendelssohn: Symphony No. 5 in D major, ‘Reformation’. The RPO’s new chief conductor, Vasily Petrenko, was in charge, with Japanese violinist Sayaka Shoji in the Respighi piece. This was Petrenko’s first concert in his new role with the RPO
This was a really engaging and excellent concert, with one work I have never heard before – the Respighi – and one work I know extremely well, the Vaughan Williams, with the Mendelssohn in-between
Petrenko’s conducting was detailed, expressive and vivid, clearly inspiring his players throughout all three works – we are lucky to have him regularly appearing in the UK (very different from yesterday), given his commitments to one of the major orchestras in Russia. He conducted from the score but was very far from having his head in it!
The programming of this concert was very clever -to bring together three pieces of music with a religious theme, and two of them in close fundamental relationship through Gregorian chant being at the historical roots of Tallis’ music as well as the Respighi piece.
In the Vaughan Williams Tallis piece the RAH’s space and elevations were used to good effect – there was a clearly separate string section of 7-8 players behind the main orchestral strings, and a quartet of soloists within that main group. The Tallis was taken faster than I’ve heard it some times, but felt suitably spacious and solemn
The Concerto Gregoriano is a violin concerto by Respighi, inspired by the history and music of early Christianity, such as plainsong and Gregorian chant.. Seemingly an early work, written in 1921, it was premiered the following year in Rome. I was unaware of its existence until the Proms brochure came out. Scored for a big orchestra – 5 horns and a celesta and harp, for instance – it was a lively and colourful piece and I enjoyed it much more than I thought I would, with a particularly beguiling last movement (splendidly brazen horn opening). The soloist from what I could tell performed her part very well. I am not sure whether impetus for choosing this work came from Petrenko, the BBC or the RPO, but Petrenko clearly has a good nose for neglected works (see for instance his recent disc of Schreker and Zemlinsky. I want to buy a recording of this work to get to know it more – it’s not a masterpiece but it is good fun, and both touching and exciting at times
Readers of this blog may know that Mendelssohn is not my favourite composer but the drive and energy Petrenko and the orchestra gave to their performance kept me listening attentively and to my surprise I found the work not too tweely Victorian or sentimental, and the use of the Lutheran hymn Ein Feste Burg and the Dresden Amen didn’t sound trite. I thought Petrenko and the RPO’s performance of this work was about as good as it gets!
Somehow the whole evening felt as though the Proms spirit was picking up steam – there was a lot of cheering at the end and some of the really special Proms silences – eg in the slow movement of the Mendelssohn. Is understandable concern about returning to live big events beginning to recede? I hope so…..
I am looking forward to the performances Petrenko is giving (I already have tickets for them) of the Britten War Requiem and Mahler 8 in 2022.
John's musical journey 