First night of the Proms 2023

[Martin Eastick]

I feel compelled to offer some thoughts here. Although I admit not hearing the entire concert, the opening Sibelius Finlandia in its choral guise made a welcome change from its usual orchestral only version, and the subsequent Snöfrid was more than acceptable......... Then, what else? The Grieg gets its 95th Proms performance - is this anything for the BBC to be proud to announce? Then an anonymous Ukrainian contemporary offering which left me stone cold. If the BBC wanted to promote a Ukrainian presence, WHY IN HEAVEN'S NAME COULD WE HAVE NOT BEEN GIVEN SOMETHING FAR MORE FITTING, WITH A MUCH HIGHER PROFILE! My suggestion - scrap the Grieg and this dreary contemporary contribution, and substitute with Viktor Kosenko's wonderful colourful Piano Concerto - an offering well worthy representing the best of Ukrainian music, as well as a timely reminder that this work is still awaiting a commercial recording!! Then we come to the Britten - take it or leave it - as far as I'm concerned, so I left it!

[Alan Howe]

I enjoyed the concert, but Martin's entirely right. Apart from Snofrid, which I'd never heard before, it was an unadventurous mixture of pieces. Paul Lewis was excellent in the Grieg, but why not give us something different? The Kosenko would've been a great choice!

[Gareth Vaughan]

You put your finger in it, Alan, when you use the word "unadventurous". That is what the programming of so many prom concerts is nowadays - and not just the proms, of course. Simon Callaghan was once actually asked by a concert promoter to suggest a concerto "NOT of the mainstream" to play at a concert. However, when he suggested Ruth Gipps' Piano Concerto, this proved to be too "NOT of the mainstream" and he ended up being asked to play something like the Schumann (I think) instead!!! Unbelievable.

[terry martyn]

It would have been fun if they had replaced the Grieg with the Bortkiewicz First. And I am sure that the audience would have enjoyed it.

[Martin Eastick]

Terry, I was also very tempted to mention Bortkiewicz as a perfect alternative to the Grieg! However, I went with Kosenko with its extended playing time in order to substitute the Grieg PLUS the inevitable contemporary dross!

On a more serious note though, I really question as to whether any of those who plan these programmes have a real knowledge of the what music is out there, especially as one moves away from the usual well-trodden paths. I honestly suspect the sad answer is a resounding negative!

[Alan Howe]

I doubt whether the planners know anything much about 'what's out there'. Then, of course, they'd have to know 'who's out there'! Paul Lewis was great, but Oliver Triendl could've offered us so much more...

[Christopher]

I don't think the Proms planners (and many concert planners) are aware that there are late-Romantic Ukrainian composers.  They always choose moderns (Silvestrov, Skoryk) who clearly leave audiences cold, and yet they persist.  I agree, the Kosenko would have been an easy win - very audience-friendly from the first note. And Lysenko's Taras Bulba overture as a crashing riproaring opener!

[semloh]

I think the nearest to 'adventurous' programming comes later, for example in the "relaxed performances" (the BBC's phrase) of Proms 11 and 25.

Most years, I have vented my annoyance on UC with the failure of the Proms to promote British music, unsung or otherwise, beyond a few pot boilers and the flag-waving nonsense of the last night, but this year does seem slightly better in that regard.. However, there seems to be a determined refusal to give audiences an opportunity to hear neglected music of the kind we discuss here. Kosenko on opening night - such a splendid idea, Martin - but quite outside the mindset of the the Proms planners.