The CBSO’s Fourth Bonn Concert

If Andris Nelsons hadn’t tipped Laurence Jackson the wink to lead the massed CBSO forces offstage after five minutes of applause I think we’d still be on our feet (yes, me too) roaring approval even now.

This concluding concert in the CBSO’s complete Beethoven symphony cycle combined Beethoven’s “little favourite” (no. 8) with the biggie Ninth, and it was instructive to witness how Andris Nelsons’ body-language differed in his interpretation of the two works.

The Eighth takes no prisoners in its no-nonsense approach. If Beethoven wants to change key, he does so, just like that, with no tactful, urbane modulations, and Nelsons revelled in this naughty-boy cock-snooking. If Beethoven wants extremes of dynamics, Nelsons responded with gusto — the beginning of the first movement’s recapitulation, Beethoven demanding a rare triple-forte decibel-level, was electrifying.

So, no place for relaxation in this terse piece, though Nelsons did succeed in making the third movement’s Trio section sound like an elegant little Viennese coffee-house orchestra, Jesper Svedberg’s busy cello solo outstanding.

Things were totally different in the Ninth, a granite-featured Nelsons taking a patient long view as he gradually welded the music’s abrupt, elemental gestures into a cosmic expression of unified design.

Unison lies at the heart of this music, whether technically, emotionally or politically. For all his bluff exterior, Andris Nelsons is a profoundly spiritual man, and all the incidents of this many-sided work — the first movement’s trembling void, the thunderbolting scherzo, the visionary longed-for balm of the adagio, the revolutionary aspiration of the famous finale — were all grasped in turn as his conception moved towards its glorious realisation, a unison, once of terror, now of triumph, hurled towards the listener.

In the vocal finale the quartet of soloists were properly operatic, and the CBSO Chorus gripped this audience with their amazing diction (how significant the words “Bruder” and “Welt”) and projection, and all from memory. Never mind that they looked as though they were standing behind crush-barriers on football terraces; their sound was as glorious as we have long known it to be, and which stunned this audience which had thought it knew all that needed to be said about Beethoven.

And so everyone packed up, moving on for tonight’s performance at the Theatre des Champs-Elysees in Paris (“Our fifth visit in three-and-a-half years, almost our second home,” remarked CBSO chief executive Stephen Maddock).

Rambo and his crew were immediately on the road, Paris-bound, with heavy instruments and stands, and we were left with renewed and remarkable insights into the symphonic miracle which is Beethoven after hearing these masterpieces in such close sequence.

And left, too, with a renewed awareness of the extraordinary bond between the unique Andris Nelsons and his superlative CBSO. And how the name of Birmingham has come to mean so much in Beethoven’s Germany.

Christopher Morley

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The CBSO’s Third Bonn Concert

The ovation at the end of the CBSO’s performance of Beethoven’s Sixth and Seventh symphonies went on forever. No-one who wasn’t standing could see what was happening, but it all felt mighty happy.

Someone said to me “people in Birmingham get this every time!”.  But let’s not overlook the added value: an audience hearing their local composer as never before, performed by a world-class orchestra and conductor on superlative form.

During these accounts I sometimes had to shake my brain and listen out for technical aspects; no need, as this playing was beyond expertise, freeing us to enjoy the privilege of savouring the sheer musicianship blessing our ears.

Andris Nelsons had begun the Pastoral Symphony with an air of relaxed well-being, yet we were already aware of tension brewing far in the distance. The following Scene by the Brook flowed at exactly the right tempo, the pair of obbligato cellos rippling quietly away, woodwinds singing their gentle songs, bird-calls deftly answering each other.

But as the end of the movement neared, again there was an awareness of something in the air.

So the Peasants’ Merrymaking was hectic, almost as though the skies were darkening, Nelsons eventually unleashing a storm of such whiplash ferocity that it became a symbol of something far more cataclysmic, until at last the Shepherd’s Hymn brought genuine solace.

It was so heartwarming to see the string-players smiling as they contributed chamber music-like to Nelsons’ delicate shaping, and the climax came as a glorious sunset. Tears quickened, and took me back to my early childhood, when Father Christmas brought me the LP of this, the first music I’d ever loved.

The next Christmas he brought me the Seventh, music I didn’t know at all, though I soon came to appreciate its unstoppable energy.

There was plenty of this in Nelsons’ reading last night, even in the allegretto, which unfolded like a measured slow march. Overall this was an account celebrating the sheer joy of movement, not least in the finale, which became an irresistible swirl of pugnacious energy.

The strings worked their bows off here, and were surely physically exhausted at the end, though the reward for all concerned was an exaltation in a democracy of well-being.

Nelsons continues to display fascinating facets of his conducting style: hands quietly swooping in flight as he trusts his orchestra to maintain the pulse; fingers fluttering discreet signals; crouching down low to secure a pianissimo, slowly rising to increase the volume until arms reach out into the air for the eventual fortissimo. And, most striking, a pounce which came out of nowhere and re-galvanised us all.

One conductor in the past was famous for such methods. His name? Ludwig van Beethoven.

Christopher Morley

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Bonn and Beethoven Day Three

Well Gentle Readers here I am after my final concert in the CBSO’s Beethoven cycle at the Beethovenhalle in Bonn am Rhine.

A few of us are going home tomorrow since our work is done here, but the majority of my friends and colleagues continue tomorrow with Symphonies Eight and Nine, followed by a repeat in Paris on Thursday.

A large part of me would like to stay and complete the cycle, but a small part of me will be glad to go home and gently come to earth after three days of exceptional music making.

The best way to describe the progression of the last three days is to refer to the audience reaction as a three day crescendo, with tonight being a fff!

What they will do tomorrow is anybody’s guess, but if they clap and cheer any louder than tonight, Bonn will get its new concert hall by default since the  roof will come off and end up in the nearby Rhine!

My feeling at the end of a concert of the Sixth and Seventh Symphonies could be described in three words – WOW! PHEW! and OUCH!

I have played those two symphonies many many times and mostly enjoyed them, but tonight was something really special, the last movement of seven is always a crowd pleaser, but to please a crowd with such panache and style (remember – Wagner described Beethoven’s Seventh as the “apotheosis of the dance”) takes an exceptional orchestra, of which I am proud to be a member, and, of course a conductor of genius, who I am also proud to say that I have played for, and who  Andris Nelsons certainly is.

It was  however very hot and those two symphonies are intensely demanding physically.

No tales tonight of young viola players or delving into the whys and wherefores of Beethoven’s writing or anything, the sixth and seventh speak for themselves.

One interesting comment from Andris, though about the Sixth-

He was saying in the rehearsal this afternoon that the Pastoral is more or less without “politics” meaning, I think, that it is what it is – a response to nature and the joy it brings to mankind. He pointed out, though that it was still intensely about Beethoven the man. The storm, he said was, of course a depiction of an event in nature, but it is also a storm inside Beethoven’s head about his worsening deafness, his struggles with his health and a representation of his internal conflicts.

I promised to tell you a little about the Beethoven Birthplace which I re-visited today.

Firstly, I was glad to discover that Beethoven’s Viola is no bigger than mine!

It resides in a glass case in one of the rooms, and it just goes to show that he was a man of infinite sagacity and taste, no mere common violin for him, he was one of the golden elite who choose to be subtle and follow the path of the intellect, rather than one of common display………………………………

Where was I?

Oh yes, seriously I found the place moving beyond words, the death mask, the ear trumpets, the conversation books, all incredible tributes in a way to the spirit of a man determined to carry on, rather than take his own life,  despite his worsening deafness, until, as he said in the Heiliganstadt Testament, “his work was done”.

Also some amusing things, after Beethoven’s death the house was eventually saved by a group of Bonn’s music loving citizens, but not before, it seems, one of the rooms was used as a changing room by a Ladies Band who performed in the gardens, scantily clad, before an all male audience!

Photography inside was not allowed, but the most telling thing to me was that such a huge soul could have come from such a tiny humble beginning.

Here come the photographs, most of which need no introduction, except for a seemingly random church organ.

This is actually the interior of St. Remigius Kirche, where Beethoven, aged ten or eleven was deputy organist.

My thanks to our Principal Bass Mr John Tattersdill for bringing this lovely interior to my attention.

First of course my thanks to all the usual people,

Liz Baines for the organisation.

Claire Dersley for her patience with us and particularly me!

Pete, Rob and Barrie for taking care of us on stage.

Thomas just simply for being himself.

My colleagues for putting up with my cameras.

You, gentle readers, for giving me a reason to do this in the first place!

Finally, of course a big cheer for Andris Nelsons, Beethoven Exponent Extraordinary!!

 

 

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This is the last time I will be with you now until 2015, when we undertake a huge European tour next May,

so Goodnight and God bless until then,

Julian Robinson.

 

 

 

 

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The CBSO’s Second Bonn Concert

You can stop worrying about the timpanist marooned behind a tree. By Monday’s second instalment of the CBSO’s complete Beethoven symphony cycle his instruments had been moved into a much clearer sight-line, and by the satisfied smile on platform manager Peter “Rambo” Harris’ face as he surveyed his orchestral layout from the wings, I reckon he had had a lot to do with it (no-one, not even broadcasting technicians) messes with him.

This concert featured Symphonies Four and Five, thus taking us beyond the halfway mark, and gave me an early front-runner in what is proving an already exceptional sequence: the frequently neglected and patronised Fourth.

Andris Nelsons unflinchingly plumbed its dark side, turning the ominous subterranean paroxysms of its opening into an evocation of Florestan’s dungeon in Fidelio, and making the ensuing allegro as heroically brittle as the great Leonore Overture no. 3 (Marie-Christine Zupancic’s flute as fluttery as an agitated dove).

The adagio’s main melody was beatifically phrased, but mystery was never away, as in the final two movements.

Nelsons took the finale at a frantic pace, desperately angry to expel the demons.  Clarinettist Oliver Janes coped brilliantly with its cruel exposure to crown a disturbing account of a work which often comes near to being a concerto for clarinet and timpani.

After all this psychological mayhem the well-trod defiance of the Fifth Symphony was almost straightforward. But even here Nelsons uncovered refreshingly new detail, drew wonderful warmth from the strings (what heart’s-ease came from violas and cellos in the andante), and consistent nobility from the brass.

The Beethovenhalle ain’t Symphony Hall, however, and despite the best efforts of all, it was scarcely possible to discern Beethoven’s expansion of his orchestra in the finale. A new hall is badly needed, despite the card-issuing activities of a political faction celebrating its 55th birthday this very day.

I doubt the audience has ever witnessed conducting like Nelsons’. Such is the confidence and respect between him and the CBSO that his intentions could be picked up via an ecstatic sweep through the air, a sudden stillness of gesture, a raising of the eyes heavenward, even the flick of an eyebrow.

The ovation? Massive, of course.

Stop Press!

I’m just back from a half-hour interview with Nike Wagner, great-great-granddaughter of Liszt, great-granddaughter of Wagner, and the new director of the Bonn Beethovenfest.

Her chief concern was to praise the CBSO and Andris in their approach to Beethoven: the energy, the use of dynamics, the phrasing, the vitality.  “This is how Beethoven should be played”.

And she thought the relationship between Andris and his players is something very special, and how responsive they are to his balancing of texture, and to his gestures.

So it’s not just me. The descendant of two of the world’s greatest composers (who both revered Beethoven) thinks so too!

Christopher Morley

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Bonn and Beethoven Day Two

Good evening Gentle Readers, and welcome back to Bonn.

First, tonight and two contrasting Symphonies.

When I first took up the Viola in 1963 at the age of 13, I was fascinated by Beethoven and particularly his fifth Symphony, it seemed to me at the time, the epitome of all that music offered, dramatic, passionate, loud, fast etc. etc.; all the things a young impressionable teenage boy  thought that “classical” music should represent.

When I had saved up enough money from my paper round, I bought a recording of it, with the Leipzig Gewandhaus Orchestra (I think I might still have it somewhere) I can’t remember the Conductor.

One day I put it on and awaited the sound of “Fate Knocking at the Door” and prepared to conduct. What came out was different, I had put the wrong side on. It was the fourth Symphony.

I went to turn it over and then stopped, here was something intriguing, a quiet opening, full of questions, dark harmonies, and then a sudden burst into the sunlight! I sat and listened, forgetting the imaginary orchestra in my head and, entranced, discovered a new side of my hero. At that time I knew little about Ludwig, only that he was (like me of course) an heroic struggler against the fools and scoffers who beset him.

His debt to Haydn and Mozart was then not within my view. Tonight, playing what has become a favourite among favourites, I was struck how fairy tale a narrative Beethoven embarks on in this work, I won’t bore you with the scenarios that crossed my mind as I played and listened, in case you have your own ideas, but next time you listen, see what you think. Has it got some sort of story? I think so!

 

The fifth Symphony is a different animal altogether;  the opposite of the fourth, with its nods to Haydn and his sense of humour, the fifth takes you by the scruff of the neck and demands you listen! From the famous opening statement to the exultant c major ending it is, even in its quiet moments, utterly riveting. I am constantly struck by how “new” it always sounds. What a shock it must have been when it was first heard, and what a lot of head scratching must have gone on among the Viennese audience after the final chords died away!

Tonight Andris brought out all the shock value, but coupled with a warmth in the second movement that, in his words, sounded like a person awakening to the possibility of being a hero.

I rather like that concept, It took me back to that young chap of thirteen, conducting his imaginary orchestra  in a small Cotswold cottage bedroom and dreaming of becoming a musician.

 

So, now the photos, today I visited Beethoven’s birthplace, and intend to go back tomorrow and go round with the audio guide so more of that tomorrow.

It is most apparent as one walks around Bonn, that the City takes great pride in its “ownership” of one of music’s greatest heroes. I imagine living here must be rather like living in Stratford Upon Avon where you cant turn a corner without seeing something about Shakespeare. So it is here with Herr Beethoven, but particularly, I note, with advertising!

 

 

 

 

 

 

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Thanks Liz!!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Here from back stage, with her permission, is an intriguing picture of my Fellow musician Catherine Ardagh-Walters adjusting her cello spike, followed by a nice one to say thanks!

 

 

 

 

 

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Here are the rest of todays crop ending with a full moon over the Rhine!

Good Night and God Bless.

Julian Robinson

 

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The CBSO’s First Bonn concert

Ever seen a timpanist lurking behind a potted tree? That’s exactly what Matthew Perry had to do for Sunday’s opening concert in the CBSO’s complete Beethoven symphony cycle in the composer’s home city of Bonn — and will presumably have to do the same for the three remaining ones.

Probably broadcasting technology was to blame, with the Beethovenhalle staged accommodating not only the musicians but also microphones and cameras, as this prestigious event was being radio’d, streamed, and relayed live to the crowd thronging the Marktplatz on this glorious evening.

Glorious not only in terms of weather, but also because of the performances, inspired even by this orchestra’s standards, under Andris Nelsons.

Even the arboreally-challenged timpanist could see enough to be able to respond to Nelsons’ electric, nervous body-energy, hands, eyes and facial muscles conveying every nuance he found in these scores.

The programme brought no fewer than three Beethoven symphonies, a mini-marathon for the players, and a fascinating exposition of Beethoven’s compositional development. Nelsons acknowledged the First Symphony’s debt to Haydn, all light, shade and wit; the increased portentousness of content in the Second, emotion and tension suspended in great swathes of warmth, and the sheer greatness of creation which is the Third Symphony For this “Eroica” Nelsons returned us to what the score contains — subtle variations of accent, dynamics and phrasing — and brought an heroic dignified simplicity to its awesome emotional content.

So, an orchestra and conductor on extra-special form, praise all round, but particularly to the consistently splendid horns. There was already the beginnings of a standing ovation at the end of the first half. After the Eroica the ovation was complete, only a few critics still selfconsciously with their bums on seats.

A rather theatrical lady collecting funding for a much-needed new concert-hall told me “Bonn people don’t like Beethoven”. Well, on the evidence of their response last night, when their local lad is performed to this kind of standard, even these hard-boiled burghers appreciate his greatness.

Christopher Morley

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Bonn and Beethoven

Welcome back Gentle Readers, to Bonn am Rhine, birthplace of Herr Ludvig Van Beethoven. Its a pleasure to be here, partly because, until I go home on Wednesday there’s no more traveling, partly because of that I actually get to unpack my suitcase (see pictures)  and especially because we are  playing one of my all time favourite composers, the afore – mentioned Herr Beethoven.

I include a selection of photos from today, but first I’d like to talk about why I find playing Beethoven so enjoyable and satisfying, physically, musically and spiritually, especially when a conductor like Andris is at the helm.

This is not to say that Andris’s Beethoven is perfect, I’ve never yet played for a conductor who’s Beethoven could be called that, and I doubt that any conductors Beethoven could be “perfect” in the sense that there’s always a new or different way of looking at the music. What I will say though, in the light of playing under Erich Schmid, Rudolph Barshai, Sir Simon Rattle, Walter Weller and Sir Charles Mackerras, is that one of the qualities most needed (in my view) is an approach of love and honesty, coupled with enthusiasm. Some of the above Gentleman (to my regret, I don’t recall playing Beethoven with any any Lady conductors – a shame!) were scrupulous with Beethoven’s markings, some not, some did all the repeats, some not, some of them violently disagreed with the way some of the others did it! (I’ll tell you one day!) All of them, however had one thing in common, they saw that the music needs, as I said, love and honesty. Whether its the love of long study and experience, the respect for a tradition of playing, the huge and impressively youthful drive of two older men, who, in other walks of life would be out walking the dog and reminiscing about the “good old days” or the frighteningly different approach of a young Scouser, they all had that love in common.

Andris is the same, his tempos may astonish sometimes, he may frighten traditionalists by taking liberties with rubato that would  appal  a reactionary Viennese or German critic, but by God, the love and respect is there, as is the honesty and the appreciation that Beethoven was flesh and blood and bone. Tonight was a highly rewarding revelation of that approach. I haven’t enjoyed playing the Eroica  so much for many years.

Thank you Andris, and when you have moved on from us, all too soon alas, I shall be listening out for your Beethoven, I know that one day you will be universally acclaimed for the way you do it. As far as I am concerned I’m happy now!

What does it feel like to play Beethoven?

For me this cartoon by a familiar old favourite says it all!

 

 

 

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First of all, let me tell you playing Beethoven is an immense physical challenge for string players, and three symphonies in one night leaves one  feeling wrung out and frankly, in pain. One has to put  a huge effort in to produce the enormous dynamic range that Beethoven demands, (yes, playing very very quietly is just as  hard work as playing very loudly) along with A LOT of notes and a lot (certainly in the viola parts) of what we professionally refer to as “scrubbing”. That is fast, loud repeated notes filling in harmonies when others are playing melodies or the brass are soaring around being heroic.

Then, musically, for me any way, Beethoven is a huge, satisfying aural  feast, it’s gutsy, its delicate, it’s earthy, its inspiring, it’s ….. I could go on with the whole gamut of words which describe humanity in all it’s states, because that’s what the mans music does.

Spiritually its the same,such was Beethoven’s love for his fellow man (though he was by all accounts not the most easy person to know) that it shines through in the music and the way it makes me feel to play it, there’s a hope and a spirit that I, at least, find nowhere else in music. Bach is serene, calm and logically astonishing, Mozart otherworldly in his perfection, Shostakovich enigmatic, Bartok amazingly weird  but in Beethoven the humanity shines through and makes me glad to be alive in a way no other composer does. At the end of tonight’s concert, even though I was hurting and exhausted I could have happily done another of his symphonies or gone off and played in  a couple of op. 18 Quartets, just to get more of that earthy, human joy.

So, more tomorrow, here are the photos-

Good night and God Bless,

Julian Robinson

 

 

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CBSO Summer Tour Retrospective

Welcome back Gentle Readers, here as promised is my retrospective from our recent short Summer Tour.

My first and most important task is to mark the retirement of one of the CBSO’s most talented, faithful and consistently astonishing musicians.

I am talking, of course of our very own Mr  Robert Johnston, Master Of The Harp and all round excellent Gentleman.

Robert joined the CBSO in 1972, four years before I did, and has been an important part of my musical life for the last 38 years.

His last concert when I was playing,  was last  Saturday night in Lucerne, in an unforgettable performance of Elgar’s Second Symphony.

I shall remember Robert as a colleague who, above all was scrupulously  in charge of his job. I have never known him to ever even slightly blunder or bend, even under the most demanding of Harp parts.

His wonderfully liquid sound is something I always looked forward to in such bravura pieces as Rimsky Korsakov’s “Scheherazade”, or any thing for the harp by Tchaikovsky, but equally in the simple but exposed moments like the end of the slow movement of Shostakovich’s fifth Symphony.

I loved  his sense of humour and masterful pedalling which enabled him, every Christmas to find another set of harmonic progressions to lead us into “We wish you a merry Christmas”

As mentioned by my colleague Tony Howe, who Robert chose to make a speech on his behalf a short while ago, Robert was a scourge to conductors of a certain breed who thought they understood the intricacy’s of the Harp and its place in the Orchestra. There was always an expectant hush across the Orchestra in rehearsal,  when Robert replied to some obviously insane request with his usual polite but firm opinion about the thing he had just been asked to do. Many tails have been placed firmly between legs after one of Roberts “ticking offs”!

The other side of Robert I have always admired has been his friendly, open and welcoming attitude to new players, whether they be fellow Harpists or from any other department of the orchestra. I know from what I have been told that his attitude to young players has always been one of encouragement and self depreciation of his own talents. I cannot but imagine that he is also a wonderful and inspiring teacher.

However I am talking in  the past tense, which is, of course silly. Robert is still very much with us as a friend, and I hope he and his Partner, Peter will be frequent visitors to Symphony Hall, both to listen and to say “hello” and also make their usual witty and insightful comments about the proceedings.

I wish them both a long, fruitful, exciting and glorious retirement!!

Here then, to start this retrospective are a set of pictures of Robert on his final CBSO tour -

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So on to the rest of this short trip, the venue in Grafenegg as I have mentioned elsewhere is, as far as I’m aware, unique. Home now to the festival run by Herr Rudolf Buchbinder, the celebrated Austrian Pianist.

It is, as I understand, subsidised by the Austrian Government and is also home to a number of concerts given by the Tonkünstler Orchestra who you can find out about here -

http://en.wikipedia.org/wiki/Tonkünstler_Orchestra

I enjoyed playing there and they have sorted out the semi-outdoors situation very well, including special blinds to keep the sun off the platform during the rehearsals and a very sophisticated yet unobtrusive sound enhancement system. Tickets in the seats are fairly expensive, but there is also space on the grassy banks either side to accommodate 300 10 euro seats for people who bring rugs and picnics! Its a very convivial atmosphere, what with the sun going down and the occasional “pop” from a bottle of Sekt  being opened.

Here then are pictures of Grafenegg, including some rather fine gargoyles on the old Schloss.

The two handsome Gentleman are – in the stripy shirt Herr Rudolf Buchbinder, Beethoven Exponent extraordinary and Festival Director

Singing- Klaus Florian Vogt Heldentenor and Heartthrob!

 

 

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So, onto Lucerne. I’ve documented and photographed Lucerne for you many times before, its always a delight to return to such a stunningly beautiful place with an outstanding concert hall.

This time was no exception and we were received, as always with grace and pleasure by the Swiss audience,many  resplendent in designer clothes and all enthusiastic. Herr Buchbinder’s Beethoven again was gracefully and powerfully played and the audience seemed more at home with Elgar’s second  Symphony than they had in Austria.

I must say, I have been amused by Andris’s modesty where the Elgar is concerned, he seems a little shy of it, I suppose because because he’s new to it (his first outing with it was Just over a week ago in Birmingham) but, as usual he has stripped the piece of its many years of interpretive “paint” and revealed it for what it is, a Masterwork equal to any by Elgar’s contemporaries. It had its interesting moments, as one of my colleagues said, “you can’t do it on autopilot!” I think he will grow into it, make it his own and still bring out it’s unique English heart, which, after all is only the heart of a passionate human being, with the hopes and cares shared by all races.

After the first concert I came home, so nothing more to report! I will be with you next week from Bonn with a generous helping of Beethoven and time to explore, unpack, (it’s always a luxury in tour to be in one place and only to have to travel to and from home)

My thanks to all the usual people – Liz Baines our touring Manager, Thomas our ever helpful friend and tour Guru, Pete Harris and his team for getting all the instruments and our bits and bobs safely around Europe and making our lives on the various platforms bearable and comfortable. Rebekah Cork for the cat herding! (That’s what trying to get a slippery bunch like us to be organised amounts to!) my orchestral colleagues for putting up with me and my cameras and of course to the ever surprising but always exciting Mr Andris Nelsons, who makes it all worth the effort!

 

 

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Here are the pictures of Lucerne, until next Sunday night Goodnight and God bless.

Julian Robinson

 

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CBSO Summer Tour Update!

Hello Gentle Readers, I have just arrived home and in an experimental moment, have found that the problem with uploading photos has been resolved! I shall, therefore,in the next few days be giving you a retrospective of the last three days with a bumper crop of pictures.

Here, as a taster are a random selection to whet your appetite.

Time to recover from travelling from Lucern via Zurich, Heathrow and a coach back to Birmingham.

Keep an eye out and I’ll have a full report in the next day or two

Thank you for reading, Here are the pictures.

(remember to click for bigger, sharper versions)

God bless, Julian Robinson

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CBSO Summer Tour Day Three Grafenegg Again.

Good evening Gentle Readers, I am sad to tell you that the problem with the photo’s is as yet unresolved. It is not at my end and nor is it a problem at CBSO “Headquarters”.
Since I am going home early on Sunday morning, it seems the best thing to do is to take more pictures each day and give you a bumper post covering my part of the tour in one go. I have been doing this with the pictures for such a long time now that I find it hard to get the process going without the images to work with.

My sincere apologies to all,  I hope to be up and running properly by the time we go to Bonn for the Beethoven cycle in just over a weeks time.

In the mean time, I will do everything in my power resume normal service as soon as possible.
Good Night and God bless, keep popping back for a quick check and I’ll see you soon.
Love and best wishes -
Julian Robinson

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