Review: BBC PROM 36: A SPACE ODYSSEY, Royal Albert Hall

Prom 36 - A Space Odyssey promised to be a highlight of the 2023 season, with the London Philharmonic Orchestra taking on a trio of avant garde pieces under conductor Edward Gardner. Inspired by works used in Stanley Kubrick's sci-fi epic film 2001: A Space Odyssey, the concert presents two pieces by György Ligeti in his centenary year, plus one by Richard Strauss.

The prom opened with Ligeti's Requiem, which reveals itself as a wall of sound with a harsh beauty to it. Brass and woodwind tones are joined by strings, harp, and percussion but it is the vocals which carry this piece.

Sung by a combination of three choirs ~(Edvard Grieg Kor, London Philharmonic Choir, and Royal Northern College of Music Chamber Choir), the sound is almost guttural and disturbing, punctuated by strident and vibrant interludes from the two soloists (soprano Jennifer France and mezzo Clare Presland). The effect is unsettling.

It is easy to see why Kubrick was attracted to the first two sections of four as they feel otherworldly and mysterious. The soloists often fill the void alone, unaccompanied, until they lead the final Lacrimosa lament - which fits well with the opening rumble of basses at their lowest level in the Introit.

Turning to Ligeti's Lux aeterna, we were invited to concentrate on the sound as the choir did not appear in their expected place on stage.

In a building not only beautiful to look at, but offering solutions and ideas to orchestras and choirs looking for innovation, it was refreshing to hear the sixteen-piece Edvard Grieg Kor from 'on high' in the gallery while the light shone down on conductor Gardner throughout the nine minute piece.

Whether you could see them or not (from my seat, I couldn't) the effect was to make you listen and experience the voices which drifted into the auditorium as if they were on the way from heaven. 

This third outing of Lux aeterna at the Proms (and the first for 13 years) made for an ethereal experience while showcasing the brilliance of both the piece and the visiting choir. It must have made for a thrilling moment for the Gallery prommers to be in such close proximity.

The evening closed with Strauss's Also sprach Zarathustra, a piece of power and challenge, both to audience and orchestra.

Known for its opening bombast utilised in popular culture (Elvis Presley's entrance music in 1970s Vegas; the recent film Barbie), this piece is so much more, although the opening three notes can be heard again and again through call and response as the half-hour progresses. The middle sections (particularly Of Joys and Passions) speak of adventure, or those ballets which Disney brought to mind through animation. 

Through nine sections, the tone poem showcases a range of instruments including contrabassoon, timpani, and large brass and string sections. The sections are named for chapters in Friedrich Nietzsche's philosophical novel Thus Spake Zarathustra, although as with any piece of music, you can conjure up your own images and engage with the work emotionally on your own terms.

In the spirit of musical collaboration, the Royal Liverpool Philharmonic donated the bell which was designed for the percussive element of the piece, having to be winched into place on stage earlier in the day. 

This Prom showcased the best of the avant garde in contemporary classical music: entertaining, bold, radical and full of drama. The London Philharmonic Orchestra were conducted by Edward Gardner with aplomb and determination, while the three choirs and two soloists left the capacity audience in delighted appreciation.

The BBC Proms continue until 8 September, with each concert broadcast live on Radio 3. Prom 36 can now be heard on BBC Sounds.

Photo credit: Nick Cutts

 

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