Not the new European champions defending a corner (another Spot the Ball competition),
but Nijinsky’s “knock-kneed and long-braided Lolitas”, 1913.
Hot on the heels of the amazing women’s football on Sunday, it was great to return again to the Proms, to hear the engaging Martyn Brabbins conducting the BBC Symphony Orchestra in a fine programme (listen here) culminating in Stravinsky’s ever-astounding The Rite of Spring.
The overture, Harrison Birtwistle’s Sonance Severance 2000, far from The pirates of Penzance, was challenging but mercifully brief. Then young Tom Borrow played the exquisite Ravel piano concerto—the perfect piece for a summer night at the Proms. I was even able to forgive him for not being Hélène Grimaud. After a rather measured first movement (with more rubato than Ravel might have wished), thankfully he didn’t take the Adagio assai quite as slowly as in this 2019 performance (assai is generally interpreted as “very”, but some composers used it as “rather”; I don’t know how Ravel meant it, but an excessively ponderous interpretation doesn’t seem to work for a piece of such classical elegance). As an encore he treated us to Debussy’s Feux d’Artifice.
Before the interval the orchestra played the stimulating Jonchaies (“reed-beds”, 1977) of Iannis Xenakis (see also this obituary). Pierre Boulez described Xenakis as having a “fantastic brain—absolutely no ear”, but Jonchaies is full of fantastical sonorities. I’m really pleased to have heard it. Here’s a recording:
The choice was apt: its primordial soundscape is somewhat reminiscent of Stravinsky’s The Rite of Spring, which followed after the interval. Though long part of the mainstream orchestral repertoire, The Rite never loses its power to amaze (see The shock of the new, and the NYO’s 2017 Prom). Just imagine hearing it for the first time, or indeed playing it as a teenager…