Prom 69: Tuesday 6th September at 7.30 p.m. (Wagner, Rihm, Mahler)

[Eine Alpensinfonie]

The Pittsburgh Symphony Orchestra returns for the second of two concerts with its Music Director Manfred Honeck. Mahler's turbulent Fifth Symphony is the main work. Written whilst he was recuperating from a sudden life-threatening illness, it is full of nostalgia. The famous Adagietto leads into a wonderfully transformative final movement. Before this the orchestra are joined by the celebrated German violinist Anne-Sophie Mutter for 'Time Chant' - a never ending aria by her compatriot, Wolfgang Rihm. Wagner's ethereal Prelude to Lohengrin opens the programme.

Wagner: Lohengrin (Prelude, Act 1)
Wolfgang Rihm: Gesungene Zeit
Mahler: Symphony no. 5

Anne-Sophie Mutter (violin)
Pittsburgh Symphony Orchestra
Manfred Honeck (conductor)

[Oddball]

Looks an interesting one. But sold out, so if I want to attend, it will mean queuing in the Proms queue.

Could any one give me an idea of how long I should queue in order to be sure of getting in?

[David Underdown]

Well I can't believe it will attract the same level of interest as the Venezuelans, so my normal recommendation of getting there before most people can get out of work should be fine. So 16:30 should be pretty safe, and even 17:00 should give you pretty good chance

[Oddball]

and even 17:00 should give you pretty good chance

Many thanks - I'll see if I can make it.

[Eine Alpensinfonie]

I forgot to list the main work in the concert. :doh:

All corrected now.

[amac4165]

Just back from the hall - overall not as good a concert as last night. The Rihm ensuring a fairly damp first half which extended to the encore !

Mahler was pretty impressive - particularly in the brass. Some people might feel it was too "full throttle" - I heard mutterings as I left the hall. But overall it was pretty impressive playing

[jayne lee wilson]

A fascinating, if not quite overwhelming, reading of the Mahler 5.

Exceptionally transparent and detailed, tonight the momentum of the whole structure didn't always carry through its separate parts. VERY free with rubato in the scherzo, at times threatening musical coherence, but intriguing nonetheless, a vivid sense of a story being told, of the dance of life, whether human or animal.

Part 1 very impressive - sad & ferocious lament, then angry protests, a glimpse of a triumph, a rapid fade.
Very sweet-toned strings in the adagietto, moderately-paced, leading to a finale which seemed to me a little too relaxed in its quieter moments; though the trumpets' affirmatory blaze was thrilling in itself, it still left me a little unfulfilled with the performance as a whole.

The Rihm piece was an extreme study of bleakness, darkness even, despite the predominance of high violin tones... violent outbursts punctuated the nightmare. Mutter's solo shone out from the heart of it.

[Chris Newman]

A fascinating, if not quite overwhelming, reading of the Mahler 5.

Exceptionally transparent and detailed, tonight the momentum of the whole structure didn't always carry through its separate parts. VERY free with rubato in the scherzo, at times threatening musical coherence, but intriguing nonetheless, a vivid sense of a story being told, of the dance of life, whether human or animal.

Part 1 very impressive - sad & ferocious lament, then angry protests, a glimpse of a triumph, a rapid fade.
Very sweet-toned strings in the adagietto, moderately-paced, leading to a finale which seemed to me a little too relaxed in its quieter moments; though the trumpets' affirmatory blaze was thrilling in itself, it still left me a little unfulfilled with the performance as a whole.

The Rihm piece was an extreme study of bleakness, darkness even, despite the predominance of high violin tones... violent outbursts punctuated the nightmare. Mutter's solo shone out from the heart of it.

Not quite overwhelming, Jayne? I can only assume you listen on the rail at the front of the arena where, to my ears, all concerts are underwhelming. Come back where the fountain used to be. Best accoustic in the RAH. The horns of the Pittsburg SO are finer I would happily say than the VPO. That principal is phenomenal. The woodwind are exquisite. The brass played with a panache and accuracy we very rarely experience with British orchestras yet do not sound brazen and American. One thing Manfred Honeck dares his players to do is to play more softly and silkily than most other orchestras. The strings are fantastic at this yet can pack a punch when required. This showed in the Wagner, Mahler and the J. Strauss "Dragonfly". The group around me all agreed that this orchestra is now giving the Chicago a run for its money, could soon be America's top orchestra and that Honeck will soon get the coveted New Year's Eve Concert in Vienna. To sum up they are the best Viennese orchestra in America.

[Ventilhorn]

Not quite overwhelming, Jayne? I can only assume you listen on the rail at the front of the arena where, to my ears, all concerts are underwhelming. Come back where the fountain used to be. Best accoustic in the RAH. The horns of the Pittsburg SO are finer I would happily say than the VPO. That principal is phenomenal. The woodwind are exquisite. The brass played with a panache and accuracy we very rarely experience with British orchestras yet do not sound brazen and American. One thing Manfred Honeck dares his players to do is to play more softly and silkily than most other orchestras. The strings are fantastic at this yet can pack a punch when required. This showed in the Wagner, Mahler and the J. Strauss "Dragonfly". The group around me all agreed that this orchestra is now giving the Chicago a run for its money, could soon be America's top orchestra and that Honeck will soon get the coveted New Year's Eve Concert in Vienna. To sum up they are the best Viennese orchestra in America.

I'm with you, Chris. The only drawback in the concert was that ghastly violin piece for which the reluctant audience applause says it all. I think it is unfortunate that Ann Sophie Mutter has gone past her sell-by date as an artist and why she chose to give an encore (similarly only receiving reluctant applause) proved to be a mistake in the circumstances.

I've always found Lohengrin to be the most boring of Wagner Operas, so I confess that I gave the Prelude little attention, so I am in no position to comment. The Mahler was quite magnificent and, in the context of this promenade concert, I thought the interpretation, heavy brass and all was fitting and appropriate.

Nevertheless, speaking as one who has only played the piece four times during my career, I think we should all thank Jayne for the music lesson:

Exceptionally transparent and detailed, tonight the momentum of the whole structure didn't always carry through its separate parts. VERY free with rubato in the scherzo, at times threatening musical coherence, but intriguing nonetheless, a vivid sense of a story being told, of the dance of life, whether human or animal.

Part 1 very impressive - sad & ferocious lament, then angry protests, a glimpse of a triumph, a rapid fade.
Very sweet-toned strings in the adagietto, moderately-paced, leading to a finale which seemed to me a little too relaxed in its quieter moments; though the trumpets' affirmatory blaze was thrilling in itself, it still left me a little unfulfilled with the performance as a whole.

Gosh! To think that I never realised all that. I just played what was in front of me at the time, but I'm sure that ferocity, anger, coherance and intrigue never entered our heads at the time.

Nor did it last night. Seems like I missed something. Maybe I shouldn't have enjoyed it after all.

VH

[EnemyoftheStoat]

The brass...do not sound brazen and American.

Ahem. I was ready to run up the white flag by the end of Mahler's first movement.