Queens, Heroines and Ladykillers: Curtain Raisers and High Drama Friday 8 March 2013 21 Audience member Scott Jonathan and Henrietta Wayne <strong>of</strong> <strong>the</strong> OAE. Photo: Eric Richmond/Harrison & Co
Celebrating 200 years <strong>of</strong> <strong>the</strong> Royal Philharmonic Society This concert marks, to <strong>the</strong> day, <strong>the</strong> 200th anniversary <strong>of</strong> <strong>the</strong> first concert given by <strong>the</strong> Philharmonic Society <strong>of</strong> London (later <strong>the</strong> Royal Philharmonic Society) which was set up in 1813 by a group <strong>of</strong> pr<strong>of</strong>essional musicians with <strong>the</strong> aim “to promote <strong>the</strong> performance, in <strong>the</strong> most perfect manner possible, <strong>of</strong> <strong>the</strong> best and most approved instrumental music”. The Philharmonic was truly international in outlook, introducing <strong>the</strong> finest musicians <strong>of</strong> <strong>the</strong> day to London audiences and commissioning a wide array <strong>of</strong> composers <strong>of</strong> <strong>the</strong> time (including notably Beethoven’s Ninth Symphony), and out <strong>of</strong> <strong>the</strong> Society’s annual concert seasons which continued unbroken for over 175 years, <strong>the</strong> UK’s rich tradition <strong>of</strong> orchestral playing was born. Today <strong>the</strong> RPS continues to champion excellence in all levels <strong>of</strong> performance and to commission outstanding new repertoire. It is not only in <strong>the</strong> 21st century that new music sometimes faces a hostile reception. Schumann was a considerably ‘slow burn’ for British audiences – even his close friend, William Sterndale Bennett, who succeeded Wagner as conductor <strong>of</strong> <strong>the</strong> Philharmonic in 1856, privately considered his music ‘eccentric’. None<strong>the</strong>less <strong>the</strong> Philharmonic Society made determined efforts, giving <strong>the</strong> first London performance <strong>of</strong> <strong>the</strong> First Symphony in 1854 and inviting Clara Schumann to London, for <strong>the</strong> first <strong>of</strong> many visits, in 1856. Clara’s advocacy <strong>of</strong> Robert’s music was passionate and as soloist in <strong>the</strong> Piano Concerto she was praised for making “her husband’s curious rhapsody pass for music with an uninitiated audience.” (It’s heartening to note <strong>the</strong> work did later become a firm favourite Philharmonic repertoire piece, with 28 performances given by 1910). However Clara’s efforts to persuade Sterndale Bennett to mount a performance <strong>of</strong> <strong>the</strong> cantata Paradise and <strong>the</strong> Peri were sadly ill-advised. It was a hot summer evening and any members <strong>of</strong> <strong>the</strong> audience who did not fall asleep apparently witnessed – to <strong>the</strong> dismay <strong>of</strong> <strong>the</strong> conductor – Clara trying to direct at strategic moments from a place within <strong>the</strong> orchestra. The critics were unanimous in <strong>the</strong>ir condemnation: A “more dreary concert was never listened to”. Disheartened by this experience, it was perhaps not surprising that Sterndale Bennett waited some 18 years after <strong>the</strong> world premiere in Germany to give <strong>the</strong> first UK performance <strong>of</strong> Schumann’s C major Second Symphony with <strong>the</strong> Philharmonic in June 1864. But London was still not ready. While critics were ready to acknowledge his mastery – “to those who understand him Robert Schumann may represent everything that is noble and beautiful in music” – and praised <strong>the</strong> “most magnificent” Philharmonic performance, <strong>the</strong> music itself still caused general mystification. The same commentator in The Era wrote that that <strong>the</strong> work was “disjointed, incomplete and unsatisfactory in <strong>the</strong> extreme.” Fortunately critical opinion changes with time and as we celebrate <strong>the</strong> RPS’s 200th Birthday with this OAE performance, we’d like to thank those early pioneers <strong>of</strong> <strong>the</strong> Society for <strong>the</strong>ir vision and determination to shake up our musical perceptions. Are you philharmonic? Please join <strong>the</strong> RPS “The Royal Philharmonic Society supports <strong>the</strong> culture, <strong>the</strong> understanding and <strong>the</strong> imagination behind live music making. If you love classical music and believe it its future you should, without question, join us.” Sir Mark Elder After 200 years at <strong>the</strong> heart <strong>of</strong> music, <strong>the</strong> RPS is, to quote The Times, “still <strong>the</strong> beating heart and conscience <strong>of</strong> British musical life.” Our vision is ambitious but even a small regular donation will make a difference. By joining <strong>the</strong> RPS, from just £3 a month, you’ll be helping to support a vibrant future <strong>of</strong> music. www.rps200.org/join 22
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