Brilliant Display of Virtuosity and Joy by Bloch/NYO

If you’ve ever imagined how Wagner’s overture to The Flying Dutchman would sound with extra tubas or how Mahler’s First Symphony might resonate with nine trumpets and eight trombones—almost double the original orchestration—the 2024 performance of the National Youth Orchestra (NYO) at the Proms was a dream come true.

However, it’s not merely the size of this ensemble that is captivating. The youthful musicians exude sheer delight and a vibrant energy on stage, which sometimes coalesces into passages of exquisite tone and meticulously played solos. At other times, it’s released in powerful climaxes, transforming big musical themes into communal celebrations. Not a single member of the NYO is over 19, yet their performance was unmistakably professional.

The Wagner overture, loaded with tubas, felt like turning the volume up to “monumental,” disregarding the neighbors. Conductor Alexandre Bloch paid attention to the smallest details—subtle string nuances, delicate woodwind phrasing—while also ensuring that the enormous brass section was not only thunderous but also precise. The Proms premiere of Missy Mazzoli’s Orpheus Undone exhibited similar meticulousness, its intricate textures unfolding with mechanistic precision.

This meticulous approach, however, didn’t translate as well to the Mahler symphony. Though there were brilliant moments—the chaotic ending of the first movement, the smooth trio in the second movement, and the euphoric coda of the finale with the brass section standing, instruments held high—Bloch’s tendency toward micromanagement occasionally fragmented the symphony’s powerful unity.

The event also featured the world premiere of Dani Howard’s lively, post-minimalist piece, Three, Four AND… Nearly 100 players from the NYO Inspire scheme joined from various parts of the auditorium, creating a near-miraculous feat of coordination led by Tess Jackson, conducting in a full 360-degree range. The highlight was the encore, the Farandole from Bizet’s L’Arlésienne Suite No 2. Instruments were quickly swapped for voices: beatboxing here, intricate tonguing there, with the Inspire participants singing its unrestrainedly virtuosic conclusion. Such showcases of inclusiveness and collective expression are rare and deeply stirring.

Source: The Guardian, BBC