Re Reflector's curmudgeonly post, we had a goal of sharing peace and love with the world and were very typical of young adults in those years. I am in this film, dancing in Queen's Park. A time-capsule that deserves second viewing. Yes the NFB is to blame.for being willing to risk innovative film-making and allowing participants to direct the focus.
An amazing work when seen in retrospect - joyful, perceptive, brave, self-reflective and self-critical while escaping the bounds of the then traditional documentary format. This film looks at social change as a challenge by those whose thoughts are still not fully formed but are as relevant now as then. If you're at any Prom this summer, tweet your thoughts about it to using the hashtag #proms and we'll pull what you've got to say into one of our weekly roundups – or leave your comments below.The ?'s asked are still relevant and yet still unanswered. In Birtwistle's recent Gigue Machine and in Michael Finnissy's 1974 Piano Concerto No 2, Hodges offered virtuosic and artistically authoritative playing that left one wondering whether any combination of notes would ever be beyond him. Entirely new was Brian Elias's Electra Mourns, a Sophocles-based scena for mezzo-soprano, cor anglais and strings in which Susan Bickley's inward interpretation interweaved to eloquent effect with Nicholas Daniel's no less articulate line while the string harmonies churned and changed beneath.īrian Ferneyhough's substantial 1967 wind sextet Prometheus proved compelling, but it was in the astonishing pianism of Nicolas Hodges and his two vehicles that the concert achieved real memorability. Scaled with imaginative variety at all levels, this was a realisation that took in every shade of the work's emotional and sonic scale.Įarlier at Cadogan Hall, the Proms Saturday Matinee, featuring the Britten Sinfonia under Clark Rundell, focused on music by four contemporary British composers.
Though its biggest moments are undeniably gargantuan, much of the Requiem is intimately voiced, and it was in their refined expression that Fischer and his forces impressed, as well as in their bold attack upon the passages of apocalyptic grandeur. The unanimity of colouring from the choirs was as remarkable as their neatness of ensemble. Simply marshalling such an assembly is a major achievement in itself, and one that Fischer controlled impeccably. In this performance under Thierry Fischer, the row of 10 timpanists lined up behind an expanded BBC National Orchestra of Wales – at whose four corners additional brass ensembles were positioned – stood in front of choral forces comprising the orchestra's attendant chorus, plus those of the London Symphony as well as the Huddersfield Choral Society, not to mention tenor soloist Toby Spence. Berlioz's Requiem offers a mighty visual spectacle as well as an aural one.
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