Image Credit, BBC/Andy Paradise

A return to The Proms saw a change in conductor. Sir Andrew Davis, who passed away earlier this year, saw innumerable Proms, concerts and operas under his belt internationally. His biography is extensive and the programme did a good job in detailing all this. So with his absence, we got the always delightful, yet rigorous Martyn Brabbins, a chameleon in all musical styles, for a concert that will be, well remembered.

Stravinsky’s three symphonies each have their own quirks and USP. In his Symphony in Three Movement, the BBC Symphony Orchestra thrilled with this piece. Naturally, you hear flashes of his Rite of Spring from some thirty odd years prior, aside usual charms from the Russian composer. This performance was effortless, it exuded a breeze out into the Albert Hall. I usually don’t stray from Stravinsky’s three big ballets (maybe the Violin Concert), though this later work has a lot of appeal. The bouncy strings, fermented woodwind and impactful percussion all stood out. A fine opener.

In a UK premiere, Steve Reich has gone biblical with Jacob’s Ladder. Detailing the dream Jacob has about angles and accession, this should be a vivid encounter. This was anything but. It took a real long time to get the stage set for this, two vibraphones were positioned and the piano moved more centrally, many string players having seats taken away. Reich has written the same music since the 1960s and these new works are a ghost of the past. The Synergy Vocals had a less impactful appearance, the male singers starting off rather weak, even with the microphones. This felt restrained and lacklustre, none of the vibrancy we’ve heard before. At twenty minutes, it was gracefully short and left little impact.

One of Davis’s favourite composers is Michael Tippet. His Ritual Dances taken from his bizarre opera The Midsummer Marriage are a set of transformations and preparations all in a stinging, English storm. These eccentric moments don’t quite go far enough, some charm and flair exists but I wouldn’t say I fell off my chair due to their vivacity. The brass has a great time, lots of fanfare vibes and the strings got hushed moments, aside stellar wedding like festivities. I’ve less incentive to see the whole opera though.

Brabbins took to the mic after this and gave a loving memorial to Davis. Stories of his temper and humour are well known, yet his love of music making was never brought into question. With these sweets words, it ended with Elgar and the Enigma Variations. This felt extra special, an easily approachable Elgar and one of his most cherished compositions. Most movements are the abbreviations of his friends and those close to him. It’s rare a piece is perfect, yet the Enigma might just be that. Again, very English in manner, witty and ironic, not afraid to trifle and meander. We may never know what piece Elgar used as the basis for the Enigma melody, but special performances like this makes the mystery go on.