Vladimir Jurowski Prom : Glazunov, and Russian goodies

Vladimir Jurowski - photo : Roman Gontcharov, 2017, courtesy IMG Artists

Vladimir Jurowski conducted the London Philharmonic Orchestra in Rimsky Korsakov, Rachmaninov, Lyadov and Glazunov.  Prom 41 worked fine on purely musical terms - satisfying repertoire, by a conductor who excels in this music, though he'd typically spice up the programme with somthing more unusual for his regular Royal Festival  Hall audiences, who are more discerning than at the ROyal Albert Hall. When he moves on, he'll be greatly missed. So more's the pity that the BBC Proms team script prioritized the "Henry Wood novelties" marketing gimmick over and above the music and conductor. Henry Wood was a musician not a "brand". He would not have been amused that his name has been used in vain !

He would have beamed, though, at the performance - especially the Glazunov, vividly executed.  Again, the stupidity of the BBC Proms team's obsession with fake firsts and non-musical tickboxes. Don't they keep up withn the world outside the Proms ? Glazunov, who died in 1936, was big decades ago, and the more recent revival's been around a good 25 years. Lots of recordings to choose from, too, so there's never really been a drought.  Jurowski conducted Glazunov's Symphony no 5 in b flat minor,  op 55 (1895), popular and sccessible because it fits the image of  Russian music as music for the stage and ballet. The subtitle "heroic" expresses it aptly - plenty of nationalist colour, not a lot of introspection. Jurowski, whose forte is sensitive reflection, emphasized the structural logic behind the drama. A darkly brooding first movement, setting the scene perhaps for the "Russian soul" of public imagination.  Wisely, Jurowski focussed on the panorama,  long,expansive lines, unfolding like endless horizons. The quality of the LPO playing highlighted details - excellent smaller-unit sections clearly defined. This sharp focus gave the scherzo character - fast passages spiking up the cheerful main theme. The andante was thus framed in context - a calm walking pace threatened by dark, ominous chords.  This gave context to the final moveemnt, an allegro, but with powerful, assertive purpose - it's not marked "maestoso" for nothing, it's the culmination of a journey through the earlier movements.  Jurowski conducted the animato conclusdion with vigour - the top lines (winds, strings) flying triumphantly over darker undertones (brass, lower strings).  Glazunov's Symphony no 5 works perfectly well on its own terms. There's no need to keep referring to its perceived resemblance to other composers. That's lazy thinking - all composers are influenced by others. The skill lies in appreciating what a composer does on his own terms.

Jurowski has conducted Rimsky-Korsakov, Lyadov and Rachmaninov numerous times, so this Prom was enjoyable, although only a fraction of what he can do given more programming choice.  A delightful Rimsky-Korsakov Mlada Suite, its ballet origins giving it energy and colour.  I  liked the way Jurowski and the LPO created the physicality in the ostinato passages - dancers' feet landing on the ground after cheerful dancing. Alexander Ghindin was the soloist in Rachmaninov's Piano Concerto No. 1 in F sharp minor (original version, 1891). Three pieces from Anatoly Lyadov, whom Jurowski has done a lot of in the past, Baba-Yaga, Kikimora and From the Apocalypse. A nice safe programme redeemed by excellent performance. Musicians winning out, despite the suits of BBC formula. .

Glazunov Raymonda : Petipa, Gergiev, Mariinsky

This year's Mariinsky Ballet Raymonda, with Viktoria Tereshkina, conducted by Valery Gergiev on arte.tv until February.  This is the full three act version of the ballet, choreographed by Marius Petipa in 1898, when he was eighty.  It was to be his last production, but it was the work throygh which Alexander Glazunov made his name. Though the version seen here is the 1948 re-creation by Konstantin Sergeyev, it's a glimpse into the world of late 19th century Russian ballet.  
Raymonda is a beauty courted by a Christian prince Jean de Brienne, but a Saracen, Abderakhman, enters the party.  Raymonda falls asleep and dreams of the Saracen.  Modern audiuences won't have a problem understanding the connectioin between dreams and the subconcious, or forbidden lust.  So Raymonda falls asleep and dreams she's been captured by the sexy stranger.  In the second act, Abderakhman declares his love and offers Raymonda wonderful treasures.  But this cannot be : Jean de Brienne kills the intruder, and Raymonda lives happily ever after in safe wedded bliss. Because this is a ballet, the story is told, not through narrative, but through a series of vignettes for dancers to do their thing, solo, in groups and in larger ensemble. Dance is "abstract" theatre !  Lots of opportunities for staged symbolism : scenes lit by moonlight,"arabic"set pieces, children, some dressed as blackamoors and  music to match, combining western lyricism (lovely solo violin doubling the prima donna).  "Dreaminess" is an illusioin. Though the dancers strike graceful poses, their feet are on the ground even when they perch en pointe or leap through the air.  Being a dancer means having muscles and physical stamina. Not for nothing many end up with injuries and retire young. Nothing romantic about that !  So the music allows for rest periods, for changes of pace and so on, and grand moments when the orchestra takes over, though the basic pulse remains firm and energetic.

José Serebrier conducts Gershwin at the Cadogan Hall

Good news! José Serebrier conducts an all-Gershwin progremme at the Cadogan Hall tonight. Bad news, it's sold out! (returns only). This should be exciting.  South American youth orchestras? Serebrier created the first, aged 14, playing before the President of Uruguay, who was a musican. What's more, they did a Festival of American Music, playing Edgard Varèse and Charles Ruggles who even now are pretty avant garde. Serebrier was too young to know kids weren't "supposed" to be safe. He was carried away by enthusiasm and his love for interesting music. He's still as adventurous and dynamic today.

Tonight's Gershwin concert will include Rhapsody in Blue (Pianist Shelly Berg), An American in Paris and Variations on I Got Rhythm. But what makes this programme special is that it includes Serebrier's own adaptations for orchestra  of Gershwin's Lullaby and Three Preludes. 

The Guinness Book of Records should award something to Serebrier for having conducted more recordings than anyone else. He works well with orchestras, and his preparation is meticulous. Get the basics right, and from that flows energy and verve. Serebrier's recordings of Russian masters are superb.  His wonderful complete series of symphonies by Alexander Glazunov (essential listening) has now expanded to include the Glazunov Concertos. When Serebrier approaches things, he does so thoroughly and with great enthusiasm. I've often watched him conduct live to study the way he interacts with his players. He's a born motivator, who gets the best out of those he works with. The Royal Philharmonic Orchestra will be having a good time, as Serebrier's commitment to Gershwin goes back a long way. Serebrier worked with Copland and Stokowski, with whom he conducted Charles Ives's Fourth Symphony, then considered unperformable because it was so difficult. Now it's standard repertoire.  Serebrier knows Gershwin well, and has recorded him before. Hopefully, this concert will herald a new series, making Gershwin part of the classical mainstream as he deserves.

Listen to BBC Radio 3 for an interesting conversation between Serebrier and Susanna Mälkki. They have a lot in common!  Serebrier knew Boulez in Cleveland and recounts how George Szell listened in stunned admiration when Boulez conducted Mahler 5, a work Szell loved dearly.

Discovering Glazunov - Serebrier

When I was young, Glazunov and early Russians were often played by leaden Soviet era orchestras, dutifully earnest and plodding. So I was completely taken by surprise when I started listening to the series of Glazunov symphonies recorded over the last few years by José Serebrier and the Royal Scottish National Orchestra. Not my thing, I thought, but listened, and discovered how much fun they could be. Serebrier thinks the symphonies anew. It’s like scrubbing stale varnish off a piece of furniture, to find the rich wood beneath.

This Glazunov is vivacious, fluid and witty! Currently I’m listening to Symphony No 6, a recording which has been nominated for the 2009 Grammy awards, and raved about by lots of different people, some of whom don’t usually agree. It isn’t easy for me to write about repertoire I don’t know well, but this is great fun. These recordings prove yet again how important thoughtful performance can be, not "going through the motions" but expressing genuine enthusiasm for the music. I love listening to these recordings because they fill my heart. Which is as good a recommendation as any in these difficult times.