I dragged myself away from the ullulations and percussion of Moroccan ahouach to go to the National Youth Orchestra of Great Britain’s Prom. After a while away from WAM, it takes me some time to adapt to its conventions—music stands, behaviour, and so on.
But for all my reservations about WAM concerts, I’ve always loved the atmosphere of the Proms. The round building, and the arena, fosters a rare engagement with the audience. in the case of the NYO’s annual appearances this relationship is further enhanced by proud parents, but everyone shares in the exhilaration—their visits are always special (see here, and here).
This year’s all-Russian Prom was directed by Mark Wigglesworth. The highlight was his own arrangement of a suite from Prokofiev’s ballet Romeo and Juliet, always riveting in performance. Only now that I read Figes’s The whisperers do I begin to appreciate the context of Prokofiev’s return to the Soviet Union in 1936, and the tribulations of artists and common people there.
In the first half, following Lera Auerbach’s Icarus (2011), Nicola Benedetti performed Tchaikovsky’s Violin concerto. It’s one of those pieces that I struggled with through my teens (cf. here), focusing on the virtuosity without beginning to understand where it was coming from. And, like Rachmaninoff’s 2nd piano concerto, it may suffer from familiarity, but it’s no mere lollipop (or, if you like, warhorse); it deserves hearing anew, with its plaintive wind solos. For Tchaik 6, see here.
As an encore, following her eloquent tribute to the band, Benedetti played Wynton Marsalis’s meditative solo As the wind goes, written for her. And the orchestra does a great line in encores too (cf. Hands free after Turangalîla in 2012!!!), continuing the Romeo and Juliet theme by launching joyously into Bernstein’s Mambo.
Just as inspiring an event, in its way, as an ahouach (also invigorated by the energy of young people)… The Terpsichorean muse, eh.
You can delight in the concert on BBC4 here, for the next month.