Strauss, Simpson and Berlioz @ The BBC Proms

Richard Strauss
Death and Transfiguration, Op.24
Mark Simpson
Zebra (or, 2-3-74: The Divine Invasion of Philip K. Dick) – BBC commission: world premiere
Hector Berlioz
Symphonie fantastique, Op.14

Sean Shibe (electric guitar)

BBC Philharmonic Orchestra
Anja Bihlmaier

This evening the BBC Philharmonic Orchestra, under the spirited direction of Anja Bihlmaier, presented a Prom that delved into the alternative realms of human experience: death, transfiguration, hallucinations, and dreams.

The evening commenced with Richard Strauss’s Death and Transfiguration, Op. 24. From its murmuring, yet fully audible, opening, the orchestra, clearly attentive and responsive to Bihlmaier’s precise yet expressive direction, crafted a performance of remarkable cohesion. The excited allegro sections brimmed with energy, showcasing excellent tonal variety, deftly navigating the work’s chiaroscuro. Despite the large forces, Bihlmaier’s astute understanding of orchestral balance achieved near-perfection in the Hall’s often-tricky acoustic. The sostenuto playing in the final moderato was simply beautiful, culminating in an ovation so fervent that Bihlmaier needed to return to the rostrum for a second acknowledgement – a thoroughly satisfying traversal of Strauss’s tone poem.

The world premiere of Mark Simpson’s Zebra (or, 2-3-74: The Divine Invasion of Philip K. Dick), a BBC commission, followed. This piece draws its genesis from the intense mystical revelations experienced by the American science-fiction author Philip K. Dick between February and March 1974. As Simpson’s programme notes elaborate, ‘Zebra’ emerged as an embodiment of God, sparked by a delivery woman’s glowing necklace initiating a cascade of visions.

In three movements, the first plunges directly into the ‘2-3-74’ experience with an explosive start, immediately evoking a sense of paranoia. A short moto perpetuo introduction leads to the electric guitar’s first entry, structurally akin to a classical concerto. However, despite soloist Sean Shibe’s earlier quip about turning the volume “to 11” in a Proms Q&A, the amplification here proved problematic. On numerous occasions, the soloist was regrettably drowned out by the orchestral tutti. While Simpson is undeniably a skilled orchestrator, and his carefully crafted accompaniment is delightful, the musical interaction between the solo guitar and the orchestra was conspicuously lacking throughout most of this movement, creating an unfortunate sensation of the guitar playing an entirely different piece.

The second movement, focusing more on the spiritual side of Dick’s experience, felt considerably more coherent and rhapsodic, akin to an accompanied cadenza for the guitar, colourfully illustrated. The third movement aimed to depict the elusive, yet ever-present, ‘Zebra’ entity. Here again, the guitar was frequently subsumed by the orchestral sound, not, it seemed, due to excessive orchestral volume, but insufficient amplification of the solo instrument. Indistinguishable voices emanating from overhead speakers brought the work to its conclusion.

While I found much to admire in Zebra, parts of the experience were undeniably marred by these technical issues, though it may well have sounded perfect on the radio broadcast. My primary criticism, however, centres on its identity as a concerto. While the electric guitar was undeniably at the forefront, the soloist felt more integrated into the overall orchestral tapestry rather than being afforded a true showcase for the instrument’s capabilities. Sean Shibe’s encore (his arrangement of Olivier Messiaen’s O Sacrum Convivium), unfortunately, did little to dispel this feeling; laden with reverb, it meandered aimlessly, conveying the distinct impression of improvisation on the spot.

The second half of the concert was dedicated to Hector Berlioz’s monumental Symphonie fantastique. This work, a pre-cursor to Berlioz’s famously dramatic pursuit of Harriet Smithson, truly allows life to imitate art. Anja Bihlmaier conducted the first three movements without a baton, imbuing the performance with a freer, perhaps slightly less regimented, but occasionally a more ragged, quality. Her demonstrative and flamboyant style, while occasionally a distraction (closing your eyes was an option, provided your neighbour didn’t mistake it for napping), certainly matched the work’s inherent drama.

The second movement, a sumptuous ball scene taken at a brisk pace, emphasised the “Allegro” over the “non troppo” marking, was capably handled by the BBC Philharmonic, with only a minor hiccup from the violins in their opening melody at the first rallentando, catching even the conductor by surprise. A protracted pause between the second and third movements eventually became clear as an ‘off-stage oboe’ (not explicitly in the score though marked ‘lontano’) plus player made their ascent to the gallery high above. The hushed ending, with four timpanists signalling a passing storm, was truly magical.

With baton firmly back in hand, the fourth movement, “March to the Gallows,” gained insightful rhythmic drive, reminiscent of the precision from the first half of the concert, with the repeat dutifully observed. Spontaneous applause, though well-intentioned, regrettably broke the spell of the sudden hushed sounds of the muted upper strings heralding the “Dream of a Witches’ Sabbath.” The abrupt change of tempo, led by the timpani, felt somewhat awkward, catching the orchestra off-guard. The bells, also marked ‘lontano’ and positioned up in the gallery, occasionally fell out of sync with the orchestra – whether intentional or not, it proved a little disorienting. The ensuing “Witches’ Round Dance” was fiery and exhilarating, taking no prisoners in its relentless, furious pace right up to the symphony’s conclusion.

Superficially, this concert followed a standard format: overture, concerto, symphony. However, it was the execution, particularly by Anja Bihlmaier, that made it extraordinary. Having taken up the reins as Principal Guest Conductor of the BBC Philharmonic Orchestra in September 2024, if this concert is any indication, the orchestra has an immensely exciting future ahead under her baton.