In a Prom entitled “Fantasy, Myths and Legends” the doors of musical possibilities are thrown open. Some may expect Bax or Harty, others Wagner or Liszt, but in the BBC Concert Orchestra's creatively constructed family-friendly concert, the featured music was from TV, film and gaming along with popular fantasy pieces of orchestral music. The evening was presented by Katie Derham from BBC Radio 3 and Ali Plumb, BBC Radio 1’s film critic; perhaps an unlikely pairing, but they had chemistry and provided an aptly humorous and self-confessed geeky duo, as late notice replacements for Hannah Waddingham. The evening was conducted by the orchestra’s Chief Conductor Anna-Maria Helsing, who directed some fine orchestral playing.
Beginning the evening and closing the programme was music from the silver screen. Howard Shore’s The Lord of the Rings: The Fellowship of the Ring — Symphonic Suite was a dramatic opening, somewhat overshadowed by the concluding battle-inspired Duel of the Fates from John Williams’ score to Star Wars Episode 1 — The Phantom Menace. In the Shore, the tone and colour of the strings and brass was particularly warm, completely intrinsic to the style, while the percussion and choir excelled in the Williams.
Other highlights of the big and small screen included Ramon Djawadi’s music to Game of Thrones and a medley of Lorne Balfe’s score to His Dark Materials. While some of the textures, orchestral colours and harmonic languages have obvious parallels, what stood out is the gifts these composers have for writing innovative, memorable and emotional music that inspires and ignites the imagination.
The programme included three works from the BBC’s initial “Ten Pieces”, a film of ten popular classical works aimed at 7—11 year olds. An act of programmatic genius was the Berceuse and Finale from The Firebird, preceded by Hedwig’s Theme from Harry Potter and the Philosopher’s Stone. Never before had I considered just how influential Stravinsky had been on John Williams, the two works dovetailing beautifully. There were also vivid depictions of A Night on Bare Mountain and In The Hall of the Mountain King.
While the extracts from Falla’s El amor brujo fitted the over-arching brief, the choice of extracts were not necessarily the best. Although the playing from the BBC Concert Orchestra was secure, the selection and sequence of pieces fell a little flat. Mezzo-soprano Felicity Buckland, making only one very brief appearance in the second half in Eímear Noon’s Malach, the Angel Messenger, could have been used to add greater contrast in the first part of the programme.
The Huddersfield Choral Society may not be well-known for this repertoire, but gave a more than admirable performance with their pleasing blend and balance, only occasionally losing diction.
Sir Henry Wood, glancing down, could not have imagined some of the music in this Prom. What this programme does is showcase innovative ways to use the symphony orchestra that engage and inspire a new generation of composers and listeners to orchestral music. It may not have the profound meaning of Mahler or Strauss but the audience gain the same deep appreciation from such a musical experience.
