Concert afterchat: bells and Poe

At the end of his hard working week with the London Philharmonic Orchestra, and just after Rachmaninov’s serene epilogue to all the doom of Poe’s funeral bells had sent us floating down from the Festival Hall, a beaming and relaxed Vladimir Jurowski joined me for a post-concert dialogue in the RFH’s ballroom zone. That’s another prime pick from Chris Christodoulou’s Proms shots above – we annually present a selection on The Arts Desk – which seemed like a better lead than the diplo-mate’s loyal phoneshot of the afterchat, though here it is anyway.

We talked about the weird disappointment of this brilliantly planned Bells ‘n Poe programme having been cancelled a month ago on what should have been its first airing: the lights failed at the Usher Hall during the Edinburgh Festival so – no concert (and they’d even flown in a baritone to replace indisposed Vladimir Chernov at 24 hours’ notice). VJ mused on The Bells’ ill-starred history - it has a reputation, it seems, somewhat akin to the Scottish Play - despite its highest place in the composer’s self-esteem, starting with the misplaced dedication to Mengelberg who’d only just dissed the work (hard to understand why). 

Although the ‘choral symphony’ has plenty of light and shade, it fascinates me especially how Rachmaninov goes beyond the bleak finality of Poe’s death-ode and provides the most levitational – I have to repeat that word, especially in the context of Saturday’s performance – conclusion imaginable. Jurowski remembered, as so well do I, Svetlanov’s last concert with the BBC Symphony Orchestra and how, knowing he was very shortly to die, the great man stretched out the transcendence to seeming infinity. That searing event has been issued on CD, but isn’t on YouTube, but another classic Russian recording is, albeit somewhat oddly via a crackly LP rather than the CD transfer – Kondrashin’s Moscow Philharmonic stunner. The final Lento lugubre begins at 23’36; the levitation comes at 32’40 though needs to be prefaced with at least a bit of the preceding gloom to have its due effect.

Here's some more of Poe's text if you feel like accompanying your listening with a bit of authentic English-language flavour (though even enlarged, it's not always easy to decipher):

VJ seemed pleased with his own matured interpretation of a work he loves: I mentioned the exceptional balances in the glitter of the sleigh-bells movement, and he felt that tenor Sergei Skorokhodov and the amalgamated London Symphony and London Philharmonic Choirs had really, for once, come through the orchestral busy-ness. He wanted a feeling of exultation, not craven terror, in the ‘Alarm Bells’ movement: this, after all, was 1913, when the imaginative anticipation of sweeping away the old order was far from the horrifying reality it would become.

I was impressed how little Jurowski repeated of what he’d recorded for the LPO’s website, where he expounded so eloquently on the place of bells in Russian culture as the only instruments heard in Orthodox services and on the Russification of Edgar Allan Poe. Even so, he is clearly so involved with the poetry of Konstantin Balmont, Poe’s distinguished Russian (hyper) translator, that he had more to say about this silver-age master. We to- and fro-d a bit about the other bell pieces on the programme, post-war collages by Shchedrin and Denisov which I think I’ve written just enough about on the Arts Desk review. Curiously there is a performance of Denisov's impressionistic Bells in the Fog on YouTube, though alas the audience is not as receptive to its cusp-of-silence beginning as Saturday night's crowd was.The big picture, by the way, is of Sofia Gubaidulina, for me the greatest voice of contemporary Russian music.

Jurowski also passionately defended the other Poe-inspired piece on the programme, Myaskovsky’s Silentium. As he pointed out, the Poe fable of a man who can withstand anything the Devil throws at him except silence is a tale for our times, perhaps even more so than for the late 1830s when it was written. So far as the symphonic parable is concerned, there’s a loyal Jurowski family connection with the honourable, somewhat lugubrious Myaskovsky, and I couldn’t help but admire the dogged sombreness of this early piece, so often mentioned in the correspondence with Prokofiev. Jurowski sticks to the line that ‘Myaskusya’ develops his symphonic ideas better than Prokofiev, who was often openly dismissive of his musical substance – as was I when VJ conducted the Sixth Symphony, a work I’d been hoping to like as well as I had on a first recorded hearing.

So I suspect VJ was being a bit naughty in passing a passionate Myaskovsky admirer’s question about why we didn’t hear more of the 27 symphonies over to me, and what I thought might be the problem. But I voiced my mixed feelings about the unevenness and deferred back to him again, since he’s spent time studying the works as I have not.

Come question time, I was glad one lady took us back to the earlier concert in the week, and – observing how the players seemed to have a whale of a time in the ‘symphonic picture’ drawn from Strauss’s Die Frau ohne Schatten - asked whose selection it was. Jurowski’s, of course, and I’m glad we agreed on the awfulness of Strauss’s own ‘fantasia’, which VJ pointed out contains much of the worst music in the opera. There was another great critical split along the lines of the Martinů divide on how effective this much more interesting selection was; having accepted that we weren’t going to get the voices, I tried to enjoy it for what it was, and found myself seduced by all those odd extra instruments on full display: the Chinese gongs, the glass harmonica (pictured below in hands-on by Thomas Bloch; no working one in either of the big Russian cities, Jurowski told me about a performance there), the four tenor tubas. It gave me a fresh perspective on Strauss’s extraordinary score, and you can’t ask for more than that. 

Coming up: three titanic programmes from the tireless Jurowski, linking British and Russian attitudes to ‘War and Peace’, marking the bicentenary of the Battle of Borodino and 70 years since the premiere of Shostakovich’s Leningrad Symphony. It should be amazing to hear the Russian National Orchestra tackle Vaughan Williams’s Sixth – VJ reports that Muscovite audiences were stunned by that unique, drifting finale – and combined Anglo-Russian forces in Shostakovich 7. Too much choice this week, alas: to be loyal to my BBC Symphony Orchestra class, I have to attend that band’s first concert of the season tomorrow and miss Jurowski’s Prokofiev War and Peace scenes: not too great a wrench when the alternative is to hear Jukka-Pekka Saraste conduct Shostakovich’s Fourth Symphony and the peerless Alice Coote singing the most beautiful song in the world, Mahler’s ‘Ich bin der Welt abhanden gekommen’, among the Rückert Lieder. 

Image of a lighthouse bell in Primorsky Krai in Russia's far east above by V Kotelnikov, courtesy of Russian language Wikipedia