David H Spence
Ditto: On Tapiola, speaking of Volkov's more direct manner with the piece this time, I meant to say that the long tremolo sequence i the strings was heard less mysteriously this time around than on the previous. A word or two got accidentally deleted ...As for Osborne and the Oscar Peterson once more, he does indeed have a relaxed panache fir crossinvg over as such, and without making any grand-standing out of doing so. As well as for the excellent Britten he played, I applaud him for it.

David H Spence
This prom started a series of three that stood apart for those complaining of the Proms having become too populist (thanks, Ivan Hewett) this year. It also successfully marked Ilan Volkov and BBC Scottish’s annual visit to the Proms.Tapiola opened, in a more direct, unflinching interpretation than heard from Volkov some months ago. One found this account terse, but not missing Slavic wildness, at least strong suggestion of atmosphere, and lament. The long agitated run of repeated-note tremoli in the strings got heard here more directly, as less from off in the distance and mysteriously retreating than here. Might it be already possible that Volkov can so flexibly, but specifically vary his interpretation of this music.Steven Osborne played a reticently incisive, yet at times garish interpretation of the Britten, and effectively let in full, tight participation of all involved. Osborne’s feel for grand gesture and flourish was most evident in the first movement cadenza, but not only there. Just before, an ascending idea up semitones in trumpets in the first movement hinted at much ominous under a cheerful surface, but never oppressively, self-consciously so. A brief spell of divertimento in manner of Poulenc then quickly broke the gloom, as to hold out to us vestige of good hope for later.Well-delineated hint for solo viola of one quieter passage from Sunday Morning in Peter Grimes introduced Waltz. Osborne and Volkov then just manically enough steered all into wind-blown dance or frenzy and back to mildly sinister close. Leonine strings of BBC Scottish grandly answered Osborne’s softly pensive opening of Impromptu; both later made us quite openly hear reminder of similarly nocturnal variation in familiar Prokofiev. All made much of the ultimately militaristic bravado of March (finale), with its stirring darker episode of meandering winds. Osborne nimbly and defiantly drove forward the tarantella of scurrying triplets that heads things to a sharp close. As encore, Osborne then proved himself a natural at Oscar Petersen.Six men of Tenebrae, in how the Varese was set up, effectively sounded to have wandered in from a remote land or time. Jagged activity of brass, percussion, and organ effectively interacted with their song and chant. The men broke into low, spoken recitation during one quietly eerie passage. Varese makes full participatory use of ondes martenot – more than its use often as garnish or embellishment in Messiaen. Melodic use of it, with all simplicity so evident here, sounded entirely fresh and inventive. Volkov seldom is satisfied with mere convention in approaching familiar territory, such as La Mer. He illuminated much detail, while seldom really spotlighting it. Approach to a few climaxes was a bit phlegmatic, but sense of the music’s integrity always remained clear. Pulsation of the sea beneath numerous lines and much else was such that it always had developed flexibly, organically from what preceded it. Imagery of breeze off, lights above the ocean from shimmer in the strings and elsewhere was evident, within a somewhat burnished, but still often sensual account of La Mer.

Julia Norton
Just a quick answer to Glyn Berwick's question-the Oscar Peterson encore was "Things Ain't What They Used To Be". Glad you enjoyed the concert - we (the orchestra) did too!

Vanessa Hawes
I very much enjoyed the Britten Piano Concerto in this evening's concert. It was, like much of Britten's work, extremely witty and compelling. The moment in the first movement when a frantically passionate piano cadenza is replaced suddenly by a string chord of such simplicity and calm as to be unbelievable, made my heart jump into my throat. However, the highlight of the evening was, for me, Varese's 'Ecuatorial.' Far from sounding comical, as some reviewers seemed to think, I found the use of the two ondes martenots very refreshing as they wove in and out of the texture. The most interesting thing about this piece, and something that was done very well by the ensemble, was the flawless transition between the sound of the organ and the sound of the ondes martenot - an aural representation, if ever there was one, of old and new together; something that Varese himself often represents in the history of music. How exciting to hear the electronic instrument (far from new now, in the twenty-first century) being used in this inspiring way. Like a tone-poem, the piece really did conjour up mysterious images of South America.

Glyn Berwick
Excellent concert all round - steven osborne incredibly talented - just what was the title of that oscar peterson piece he played?

Ben Fuller
Loved this Prom, particularly the beautifully evocative and descriptive outer works of the programme - Sibelius' Tapiola and Debussy's La Mer. The orchestra conveyed the magic and charm of these pieces delightfully, under the skilful direction of the young and trendy looking Ilan Volkov. Steven Osborne gave a technically brilliant account of Britten's piano concerto - although I'm not totally sold on the piece itself - and followed it up with what was for me the highlight of the evening: an impromptu rendition of a bluesy solo piano piece by Oscar Peterson. The Varese was an interesting experience, although personally I thought it more of a comedy experience than a musical or artistic one - but perhaps I am missing the point. I understand it is something of a pivotal work, being the first piece to juxtapose electronic instruments against acoustic ones, but nonetheless I found it to be more like an exercise in creating silly noises in new and exciting ways.Still, I always think a really good Prom is one where you are inroduced to something unfamiliar as well as being treated to some popular classics, so this concert ticked the boxes.

Thoroughly Good
Hearing Benjamin Britten's Piano Concerto conjured up a tantalising image of a young, willowy Britten sat behind the piano in the Queen's Hall wowing the audience with his rapidly composed work. Friends and critics in 1928 may have been down on the concerto after it's premiere in 1928 (most at the time agreed that they lost interest by the last movement) but this 21st century performance did much to blow those opinions out of the water. This writing was Britten through and through, clearly eager to impress everyone with a score which demonstrated his mastery for orchestration and his innate ability to poke fun at the most appropriate time. The fact that he was the soloist only rams the point home further. Last night's performance was eerily fitting in places and suitably mocking in others. A great performance from Steven Osborne and as for his encore ... that was a real unexpected treat.

Bernard Bouman, Holland.
The piano concerto of Britten was beautiful. I didn´t know this piece before this performance and I like it very much now. Steven Osborne was a great soloist in this concerto. Thanks for playing. Bravo!