Next Season's Programmes

[rayallen43]

How difficult it must be to plan programmes in Brighton! With most of last year's concerts being so successful (pace Bach!) I have felt a certain disappointment with the 2010/2011 season.
Firstly the plaudits for; Nielsen Flute Conerto, Totentanz, Delius Double Concerto, Belshazzar, Mahler 4 and Bartok 2nd Violin Concerto and,of course, R.R.Bennett - the great old man of English music. But did we really need two works by Schumann when William Schuman is having his anniversary year? (What about his wonderful orchestration of Ives' variations on America as a concluding item on the final night -I'm not sure Brahms 2 is very good for that.) And talking of anniversaries, no Samuel Barber, surely an unforgiveable oversight?
It is all too easy to compile lists, but may I again ask for more twentieth century classics and SOME American music.

[Brighton Philharmonic]

I'm sorry you feel disappointment at our next season, but I trust that the disappointment is not too overwhelming as you have kindly awarded plaudits to works in at least six of the ten concerts, for which many thanks.

Leaving aside those works you have mentioned in your message, could I highlight the Rachmaninov Symphonic Dances in your quest for 20th century classics. It is Rachmaninov's last work written in 1940, which I would argue, takes its place in that category and I would also recommend the Dohnanyi Koncertstucke (1904) which is an unknown gem of the repertoire, even though it only just scrapes into the 20th century.

As for American music, well in the 2010/11 season although there are no works composed by born Americans, there is a strong American influence in the programming. This includes Dvorak New World Symphony - written on a visit; Rachmaninov Symphonic Dances written after the composer had been domiciled in USA for 30 years and influenced by American music particularly in the use of instruments such as the alto saxophone; the Richard Rodney Bennett works - he has lived in New York since 1973 and the premiere is of American Carols with all the overtones of the jazz and folk influence which RRB has absorbed; and both Delius works for although we think of Delius as quintessentially English he lived in Florida and Virginia for a large proportion of his early adulthood and was particularly influenced by Afro/American spirituals and Armish folk music in his compositional style.

As to the battle of the Schumanns - William Schuman on his centenary and Robert Schumann on his double centenary, we simply picked works to balance the season and in the case of the piano concerto, works suggested by the guest artist. There are only a finite number of concerti which it is possible to perform in the double role with any degree of success and Howard Shelley suggested this programme.

The Barber centenary was recognized modestly in the inclusion of his most popular work the Adagio in our concert of 7 March 2010.

On reflection I hope you'll agree that we have succeeded in sharing the diversity skill and enjoyment of the orchestral repertoire in our season of ten programmes and a New Year's Eve Gala.

Best wishes Judith

[rayallen43]

Forgive me, Judith, if I appear to overly critical. That was not my intention.
Having been a regular attender at these concerts for many seasons, I am sure that a little more space could be made in the programmes to tickle the very jaded palettes of many of the Sunday afternoon attendees. Sitting where I do, and listening (snooping!) to the conversations in the interval as well as prior to the concerts, I am aware that for many the only reason that they attend is to bathe in the waters of the ultra-familiar and more disturbingly, when the occasional dreadful performance occurs (Bach!), they are blissfully unaware of how the music should thrill and stimulate the senses. For me, music should grab you by the shoulders and shake you just a little - if it doesn't it has failed.
I really can't let you get away with your American argument. Music written in, or alluding to, things American are not examples of American music. We had the Bernstein, now please may we dip into the wonderful Copland ballets. Let's give light music a chance with works by Don Gillis (not to mention the many examples of English light music recently recorded by Barry and others on the Dutton label.)
I would love to hear the seminal works of the twentieth century - we are now in the 21st - like 'Verklate Nacht', Webern's 'Six Orchestra Pieces' and Bartok's 'Music for Strings, Percussion and Celeste' - then we could march more confidently into the present era and include more young composers.
In conclusion, may I continue to thank you for all the hard work you are putting in, and be allowed, just occasionally, to nudge your elbow in the cause for truly 'living' music.