A living legend takes a bow

by Gwen Herat from the Royal Albert Hall, London

Fifteen thousand Britons rose to their feet to honour their living legend with a thunderous round of applause in a heart-warming reverence when Sir Harrison Birtwistle took a bow at the end of a violin orchestration of one of his prime works at the Royal Albert Hall, London. The genial music genius with silver hair in his late seventies was helped by the conductor of the BBC Symphony Orchestra at the end of his score. When he stepped, the crowds would not have it. So he had to come back for a second time. I saw some people brushing away their tears. Sir Harrison who had the distinction of having his spectacular music played in his lifetime and being the best living composer in the UK, stole the hearts of the mega crowd.

The living legend, composer, Sir Harrison Birtwistle

This spectacle intrigued me and I ended up being emotionally charged. I sank into the crowd and lost my daughter in the melee but found her outside in the foyer.

Are Britons so conscious of classical music? I was wondering because I never thought so before.

Musical traveller

Sir Harrison is a musical traveller who takes all of us on a journey across earthy landscapes and lusty woods of England. He engages himself in environment in many distinct ways. The significant encounters are lopped and cut short and crisp, spaced throughout in a single span of the work.

As I sat at the RAH and tried to fix the pieces together, I found my knowledge had paused. I was lost; where was I to begin and end this wondrous magnificent score. I was dejected. My pen did not move as people brushed past me. Then I saw Sir Harrison Birtwistle chatting with the members of the orchestra. I was rejuvenated both in spirit and mind.

Sir Harrison inspired me. My mind was ripped open with violin dialogue, turned on with a flute, piccolo, cello, oboe, bassoon, piano etc. You name it all the notes in the score gripped my senses.

The Concerto for Violin and Orchestra was vibrantly vivid though hard and heavy when it was played a moment ago. When composing the score, Sir Harrison may have faced the challenge in the conventional genre for the contemporary age. He has not engaged in the rich expressive style of Beethovan or Brahms but one can detect a Mendelsohn spot in this particular one that was played tonight. Written entirely (I think so) only for the lead violin, it is laden both with tradition, virtuosic and idiomatic. He throws a challenge at the violin because for a long time Sir Harrison avoided writing for stringe.

And today, it is the violin that speaks for him.

Concerto for violin

Among a long line of major scores, this is only the most recent one performed at the Proms. In 1968, it had the world premiere with Sir Collin Davis conducting it for the BBC Symphony Orchestra. Later it was played again in 1984.

Sir Harrison's imagery theatre works are at play and is telling the violin is the most protagonist and in evolving dialogue with the orchestra that acts as collective individuals. So, the violin asserts its own identity (brilliantly displayed by Christian Tetzlaff) it goes through the negotiation with the orchestral instruments, without conflict. We see their movement but no sound allowing the whole wide space only for the violinist. These are the traits of Sir Harrison's musical language, it is his genius.

Tonight's revival premiere is finding the Royal Albert Hall gushing in waves of people amounting to over 15,000. This mysterious element in music is so very impulsive, sparkling and upward running, no one as much as make a movement. When this symphony was scored for the 1960 debut, it was more primitive and suited for 'attack' of wind and not for string. By the time 2011 arrived, the sweeping change produced by instruments especially that were not there in the early sixties, created the magnificent version I am experiencing right now.

Section of the BBC Symphony Orchestra at the Royal Albert Hall.

The expressive string style can be handled only by an iconic violinist playing solo and who else but one of Britain's prestigeous violinist, Christian Tetzlaff for whom this was scored and rescored for tonight. He navigates the instrument through storm and tide, the four seasons like a man gripped in suspense and drama while the muted orchestra reacted to the conducting David Robertson, Christian is playing this 25-minute symphony on a violin exclusively designed by the famous German violin-maker, Peter Greiner. And as all this is happening I can see the Symphony's creator, Sir Harrison Britwistle looking down from an isle in the north of the theatre perhaps with pride and adoration at Christian Tetzlaff.

BBC Symphony Orchestra

The orchestra has played a central role in the heart of British music life since 1930 and provided the backbone of the BBC Proms that have become extremely popular not only with the Brits but with overseas visitors.

The orchestra contains a massive 16 First violins, 14 Second violins, 12 Violas, 10 Cellos, 8 Double basses, 2 Flute, 1 Alto flute, 1 Piccolo, 3. Oeoes, 1 Cor Anglals, 1 Base Oboe, 2 Clainets, 1 Bass Clairinet, 1 Contrabass Clarinet, 3 Bassoons, 1 Contra Basson, 7 Horns, 6 Trumpets, 2 Trombone, 1 Bass Trombone, 1 Tuba, 1 Euphonium 2 Timpani, 4 Percussion, 2 Harps, 1 Celesta, 1 Organ. When put together, at my count, it is 105 instruments.

The Chief Conductor was Jiri Belohlavek, The Principal Consuctor was David Robertson and The Conductor Laureate was Sir Andrew Davis.

Apart from playing with the BBC Symphony Orchestra this season, Christian is also curating a project at the Carnagie Hall for the world premiere of Sir Harrison's Violin Concerto as well as the Boston Symphony Orchestra as a solo. He will be playing the same violin as of today.