Alissa Firsova's arrangement of the final movement of Bach's Viola da Gamba sonata in G minor bwv 1029. Performed by the Royal Philharmonic Orchestra conducted by Andrew Litton on 14th august 2010 at the Royal Albert Hall.
This piece was the great delight of the proms. As a piece it has the light touch of Bach, but the heart, the soul, and the wrenching power of a Shostakovitch, but with a dash of Nielsen. Any expert or even callow amateur could tell I am not an expert on music, but these are my humble impressions. Congratulations Miss Firsova,
Why is everybody so negative? If you don't like it, don't listen to it! In my opinion it is just funny orchestration of young composer who i think, listened a lot to Malcolm Arnold. Nothing more, nothing less.
@MrPrommer I am interested in what critics say, but I did not find any of Miss Firsova's comments big headed, just confident. She was generalizing, or at least I believe so, and attempting to describe most probably how she saw her work, and its levels. What is wrong with that?
@MrPrommer Thanks for your response, and thank you for the correction. I respond to each point individually, hardly over the top, just precise. We both have opposing views, you think you are right, I think I am. I would say truth is hardly an issue, since in art there is no truth just interpretation. Many fine composers were loathed in their day, now loved. All opinion and fashion alters, so to bring supposed 'truth' into it is to bring in a factious point. Again thank you for responding.
@MrPrommer This piece was not necessarily childish but youthful. It had a vibrancy, and enthusiasm which is or should be inherent in the young (at least I think I am, and I am young). I disagree with your views, but they are of interest, largely because the you have taken the time to at least try to rip it shreds, which demonstrates you were at affected by the piece, if it was drab you would not have bothered.
@MrPrommer Strange isn't it, many of the finest composers have had the same comments level led against them, amongst them Beethoven and Elgar, not to forget Mahler and Wagner. Are you suggesting we right them off too because a critic or two (and there are many critics, very few creators) happened to dislike the piece?
I think the tuba player had an off-day, and the percussion it's too loud at some passages (the wood blocks at 0:30 or the snare drum at 1:36), but overall this is a colourful and bold arrangement. Many great works were criticised due to a bad première (Elgar cello concerto, for instance). Had been the orchestra more balanced, I don't think mrs. Firsova would have received so harsh criticism.
