Royal Philharmonic Orchestra

'A rewarding and well-played programme'

Prom 39: Bach Orchestral Transcriptions, Royal Albert Hall, 14 August 2010

Probably one of the most famous of all Bach transcriptions is that by Leopold Stokowski of the Toccata and Fugue in D minor...the Royal Philharmonic Orchestra under the authoritative direction of Andrew Litton certainly made sure that the piece made an impact. Particularly telling were some of the gentler moments, with filigree harps and woodwind creating telling contrast with more ferocious outbursts.

The first half of this concert concluded with Walton's Suite from his ballet The Wise Virgins...this performance projected the music well, and contributions from solo instruments and sections (the cellos in particular) were exemplary.

Malcolm Sargent's arrangement of 'Air on a G string', unashamedly romantic in character, with rich string textures and enhanced counter-melodies, was given an expressive performance, as was Granville Bantock's take on 'Wachet auf' which featured some pert little woodwind comments.

To conclude was Respighi's opulent orchestration of the great Passacaglia and Fugue in C minor. This was given a luxuriant, full-bodied reading and brought to a close a largely rewarding and definitely well-played and interpreted programme.

'Roof-raising performances'

Prom 39: Bach Orchestral Transcriptions, Royal Albert Hall, 14 August 2010

With conductor Andrew Litton and the rich-toned Royal Philharmonic Orchestra going for broke, there were some roof-raising performances in arrangements by the ever-flamboyant Leopold Stokowski and Respighi.

'Wonderfully ripe performances'

Prom 39: Bach Orchestral Transcriptions, Royal Albert Hall, 14 May 2010

The pieces that worked best were the boldest, such as Stokowski's magnificently over-the-top version of the Toccata and Fugue in D minor or Percy Grainger's Blithe Bells, which turns "Sheep may safely graze" into a full-blown English pastoral rhapsody. The Royal Philharmonic Orchestra under Andrew Litton gave wonderfully ripe performances of both.

'Great style and panache'

Prom 39: Bach Orchestral Transcriptions, Royal Albert Hall, 14 August 2010

Andrew Litton conducted the Royal Philharmonic Orchestra with great style and panache in an evening of gloriously politically incorrect Bach arrangements. Granville Bantock's response toWachet auf was sturdy and reverent; Respighi's musical wardrobe for the Passacaglia and Fugue sumptuous and multi-textured. And there was the swagger of Stokowski, the keen ear of Henry Wood, and the gentility of Malcolm Sargent as well.

This was a winning performance

Dmitry Yablonsky and Farhad Badalbeyli, Cadogan Hall, 15 July 2010

[Dmitry] Yablonsky immersed himself in the music, and gave an unadorned reading of the work [Rachmnainov's Symphony No.2] – never allowing himself to indulge...He allowed the music to unfold its mysteries slowly and inevitably. I was particularly impressed by the dark and brooding slow introduction to the first movement, which showed exactly how Yablonsky intended to build his interpretation. With the RPO on top form (when isn’t it these days?) combining the richest of string and brass sound, and Leila Ward’s welcome cor anglais solos – she is such an asset to this orchestra, and her contributions are always worthy of note – and Michael Whight’s intense phrasing of the main theme of the great slow movement, this was a winning performance.