Barenboim's Elgar BBC Proms

Barenboim's Elgar

Daniel Barenboim and the Staatskappelle Berlin perform an entirely English programme, including Elgar's Second Symphony and the UK premiere of Sir Harrison Birtwistle's Deep Time.

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Elgar's Second Symphony at the Proms. Daniel Barenboim conducted


the Staatskapelle Berlin. Our apologies for the loss of


transmission for a few minutes during the first movement of that


performance. One of the great privileges of watching a performance


like that is seeing how much it means to Daniel Barenboim and the


players. Every second played with such full commitment that every


player of the orchestra, every moment, etched on Daniel Barenboim's


face. A rather different reception to the one Elgar got in 1911. An


audience not sitting there like stuck pigs, Elgar would be glad to


hear. The appreciation in the Royal Albert Hall. So many riches in that


performance. This idea we sometimes have of Elgar as belonging to a


different tradition than that of Strauss and Mahler, but every fibre


of that piece was about disproving that. An essential early document of


the early 20th century, very much of its time. The vividness of the


colours in that lament of the second movement, the sheer involvement and


commitment, I say again, the string playing part of this orchestra, the


Staatskapelle Berlin. They looked to be enjoying this so much, giving


this symphony, Elgar, to a British audience, to us, at the Proms. And


Barenboim made the point about how connected Elgar's music is with


Europe. Well, Richard Strauss announced the Enigma Variations as a


masterpiece, the first significant piece by an English composer, and in


one of the last concert she told me that just as Mahler conducted in New


York before he died in 1911, and the piece was Elgar's Enigma Variations.


Not only are the audience not sitting there like stuffed pigs.


These are uploading birds of paradise, one might perhaps call


them. They seem to want more from this orchestra as well. But the


woodwind section of the orchestra, on their feet. That astonishing oboe


sole plate tonight by Fabian Schar raver, kind of improvisation array


-- oboe solo, played tonight. You don't always associate Elgar with


sheer sonic power but there was a lot of that in that performance


here. The violence that Barenboim unleashed in that third movement,


inspired by her Tennyson poem of someone in a shallow grave hearing


the hooves trample on his head. The whole orchestra on their feet now.


And orchestra really have a close relationship with Daniel Barenboim.


He has been the general music director there since 1992 which is


means he is in charge of the Opera house there as well, and he has held


the conductor for life title since the year 2000. More applause. The


audience want more from Daniel Barenboim. They maybe think of his


previous appearances at the Proms, where he has given so many concerts.


In 2012 there was a cycle of Beethoven's named Symphony -- ninth


Symphony along with the complete performance of Wagner's Ring Cycle.


And more music... music in which Elgar surely shows


his soul. The Nimrod variation from the Enigma Variations. I wonder in


that performance if some of Daniel Barenboim's soul is revealed. This


deep connection with Elgar and his first wife, Jacqueline du Pre.


Somehow, the spirit of noble lament in that music is in a way what the


Second Symphony is about, albeit on a grander scale. Sometimes an encore


feel like they believed to a different spiritual universe but not


that one, it feels like a continuation of the world of the


symphony. Daniel Barenboim bringing this orchestra to their feet, the


Staatskapelle Berlin. He has created another of these


unforgettable experiences at the Proms, whether it is Beethoven,


Wagner, Elgar, Daniel Barenboim and this orchestra, something special


happens when they are here at the Royal Albert Hall, sharing music


with this audience and with you at home. Something you feel means more


to him, sums up his approach to music making, reaching the widest


possible audiences. Something that runs through his life as a musician,


with the West Eastern Divan Orchestra, other musicians, driving


everything he does as a conductor. He is on the podium. That could mean


there is still more music. Ladies and gentlemen, I hope you


will bear with me. There are some words I would like to say today that


I would like to share with you. I don't know if all of you will agree


with them. I really would like to share that with you, but, first of


all, I would like to thank this wonderful orchestra.


APPLAUSE Not for being wonderful, this is


what they are! LAUGHTER But for having agreed to


postpone their holiday by a week, I think, or more, in order to be able


to come to London to the Proms, this weekend, to play, because to play


for you the Elgar symphonies is something very important to them.


They really fell in love with this music. And they really wanted to


bring it to London and I am very grateful they are only going on


holiday tomorrow. LAUGHTER APPLAUSE


And I would like to share with you some feelings, thoughts I have.


Not political. LAUGHTER Not political but rather of human


concern. When I look at the world with so


many isolation tendencies. I get very worried. I know I am not alone.


APPLAUSE You know, I lived in this country


for many years. I was married in this country and I


lived here for many years. I was shown so much affection whilst I


lived here, that this kind of gave me the impetus, if you want to say


what I would like to say, I think that the main problem today is not


the policies of this country and that country. The main problem of


today is that there is not enough education.


APPLAUSE That there is not enough education


for music, we have known a long time, but now there is not enough


education about whom we are, about what is a human being and how is he


to relate with others of the same kind?


APPLAUSE That is why I say it is not


political, but it is of human concern. If you look at the


difficulties that the European continent is going through now, you


can see why that is. Because of the lack of common education. Because in


one country, they do not know why they should belong to something that


whether other countries do. I am not talking about this country, no.


LAUGHTER I will come to that. I am talking in general. Our


profession, the musical profession, is the only one that is not


national. No German musician will tell you, I am a German musician and


I will only play Brahms, Schumann, and Beethoven.


CHEERING We had very good proof of it


tonight. Let me stay out of Great Britain. If


a French citizen wants to learn Goethe, he has to have a


translation, but he does not need a translation for the Beethoven


symphonies. This is why music is so important. And this isolationist


tendency, and nationalism in its very narrow sense is something that


is very dangerous and can only be fought with a great accent on


education of the new generation. We are probably all too old for that.


LAUGHTER But the new generation have to understand that Greece, and


Germany, and France, and Denmark, have all something in common called


European culture. CHEERING


APPLAUSE Not only Europe.


Culture. This is really the most important thing. And, of course, in


this cultural community called Europe, there is a place for diverse


culture. For different cultures, for a different way of looking at


things, but this can be done only with education. And the fanaticism


that exists in the world, with religious backgrounds, can also only


be fought with education. APPLAUSE


Religious fanaticism cannot be fought with arms alone. The real


evils of the world can only be fought with humanism, that keeps us


all together. Including you. And I am sure going to show you that I


really mean it. APPLAUSE


MUSIC: Pomp and Circumstance March No 1 by Elgar


Daniel Barenboim and his international cultural community of


musicians, the Staatskapelle Berlin. Am everybody here, with the Pomp and


Circumstance March. A tune that belongs all of us. Something you may


hear later in the season. From all of us at the Royal


Albert Hall, good night.


Inspirational maestro Daniel Barenboim makes his second appearance in this opening weekend of the 2017 Proms season. Conducting his German orchestra Staatskappelle Berlin, Barenboim brings an entirely English programme to the Royal Albert Hall, including Elgar's poignant Second Symphony and the UK premiere of Sir Harrison Birtwistle's Deep Time, a work dedicated to the memory of Birtwistle's friend and colleague Sir Peter Maxwell Davies.

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