In one ear and . . .

Isn't it odd how two people can hear, apparently, exactly the same things, and be diametrically opposed in their conception of what they mean? This is The Times on the Schoenberg Variations:

". . .[it] is a test of any ensemble's technique and concentration. The orchestra not only swept through it with compelling passion, but managed to characterise the fleeting mood changes—some no more than a flicker—without compromising the overall flow."

I can't say I heard "compelling passion"—rather 'determination'—but I heard all the rest—and they were the things I thought were so wrong with it. All sweeping flow and a few fleeting flickers . . .

Oh, well. Perhaps I'm in a bad mood . . .or is it politically dodgy to be a bit mean to Barenboim and his band in print? I wonder. . .

(And thinking of people having only half an ear, I've read in the Guardian that the 'L'histoire d'un Soldat' was "chiefly unsuccessful because it was narrated in French." (As of course, so many have been this season, seeing as how they were sung in French, German, Italian, even Latin.) This in the Guardian, not the bloody xenophobic Daily Mail? Jesus, the sort of language I'd like to use about that I don't think I dare to, even in a blog. Quel con! Quelle rhodomontade! Zenophobe! Cochonnerie! Je vous emmerde!)

As of now, you'd better pronounce my first name French-style, that's with an acute accent on the E. [i-rique. Got it? I'm going to insist on it.] Don't bother trying with the last one, the French can't do that at all . . .In one part of the north of England, though not the one I come from, it's actually pronounced 'Brouwat" which they could, only it's too complicated to explain . . .

Prom 38: Falling off the divan

I said I wasn’t going to review the Schoenberg from the ‘Divan’ and Barenboim tonight; so I won’t, though I did listen to it. I’ll just comment on it.

It is clear, as the presenter told us, that the orchestra does know the music very well.
Also clear, as Barenboim apparently said, that it is “A difficult piece to make work.” Whether he himself had any real, developed, considered, conception of what to do with it, I am not so sure. Conceptually, it seemed incoherent to me, just the style of performance overall that I would give to a friend so she could confirm to herself why she hates the Schoenberg of this period.

Apparently, some of the Arab members of the band were heard ‘jamming’ one of the themes in Arabic style earlier. I would have liked to have heard that; I suspect they may have shown a better sense of the structure of the Variations for Orchestra than their conductor, if they could do that. And I have heard just enough Arabic music to guess what it might have sounded like. Now that would have been very interesting if they had been allowed some of that freedom in the 'real thing' tonight. I’m sure they could recognise the musical meaning of the plural . . .

OK, I did say I was tired. Perhaps I’m jaded. Maybe I’ll have another go at it next week, but this really is a favourite of mine, and despite the skill of the orchestra, I was disappointed. Apparently he told them, being “tough on them”, that the piece sounded sometimes like “rush hour in Hong Kong” in rehearsal. I wonder if he put them off. It sounded more like SUV’s rolling along a 12-lane American freeway at 3 in the afternoon to me.

Prom 38: East-Western Divan Orchestra: Schoenberg, Variations for Orchestra.