Whether by accident or design, this pair of Proms presented remarkably similar programmes: a new or nearly-new work and piano concerto in the first half, followed by a grand Strauss canvas in the second. They also gave us a chance to hear BBC-backed musicians – in the form of the pianist Shai Wosner, a BBC Radio Three New Generation Artist, and the BBC Scottish Symphony Orchestra under their Chief Conductor designate, Donald Runnicles – against the superstar might of Lang Lang and the legendary Staatskapelle Dresden and their Principal Conductor, Fabio Luisi.
Runnicles had chosen to start his programme with John Adams's Slonimsky's Earbox from 1996, and with it showed a sovereign command over his forces, marshalling them through Adams's hyperactive, bustling score with skill. The band themselves performed admirably, responding keenly to the work's pounding rhythms and textural innovations. Runnicles also proved a sensitive accompanist in Mozart's D minor Concerto K. 466, setting the scene with breathless syncopations and matching the elegance of Wosner's playing. There were some patches of unsure ensemble and despite the quality and sincerity of Wosner's playing, there were moments when the artless simplicity of the greatest Mozartians eluded him. However, it was refreshing to hear the bare cantilena of the Romanze embellished so instinctively, as well as the pianist's own fiery cadenza in the Finale.
The performance history of Richard Strauss's Symphonia domestica at the Proms is eloquent testimony to the composer's place in public affection, and this problematic work's in particular. Performed several times between its composition date and the outbreak of the First World War, this performance was only the third in some 95 years at the Proms. Strauss's famously mundane programme makes it an easy target for critics and the endless coda of the finale no doubt almost topples over into self-parody, yet Runnicles's flowing, unsentimental account was outstanding. He tamed a score that can be hopelessly unwieldy into coherent whole and although it was a shame the horn's fluffed a few of their money-notes in the last section, the orchestral playing was largely outstanding, particularly the woodwind.
The Staatskapelle Dresden's Prom was a far less even affair. It was clear that the audience, including several restless children and a noisy toddler, were there largely for Lang Lang rather than Rebecca Saunders's traces (2006, rev. 2009). And as a minutely detailed exploration of timbre, appreciation of Saunders's work was inevitably hampered by various audience contributions. Yet the committed playing of the Dresdeners was to be admired and there was enormous compositional craft on show, even if it was difficult at times to relate the work's cerebral intentions with what one heard.
The lukewarm applause that greeted traces was contrasted with appreciation for Lang's appearance, as he set down to give his own unique take on Chopin's Second Piano Concerto. It was clear none of his fans were disappointed and there were few surprises as the pianist pushed and pulled, gesticulated and swooned his way through the opening movement. The Art of Lang Lang dictates that rubato be replaced with tearing a work from its rhythmic moorings, that passion be portrayed through lumpy, heavily accented phrasing and elegance through mere velocity; and this is what we got.
The orchestra played their part dutifully, impatiently rushing through their tuttis, and happily subjugated themselves to Lang's musical whims. There is an astonishing technique, and a beautiful touch, but not for one second does one feel the pianist serving the composer: this delicate, youthful work became just another table for Lang to lay out his box of tricks. The audience applause took the roof off, and they were duly rewarded with Lang's mangled take on the Etude, Op.25 No.1. If this brings more people to classical music, that can only be a good thing, but I can't help feeling Chopin deserves better.
The massed forces of the Dresden orchestra had the platform to themselves in the second half, to showcase a work that is very much their own: Richard Strauss's Eine Alpensinfonie. No orchestra has a closer relationship to the composer and, on their best form, they still play his music like no other, as recordings of the work by Luisi and Giuseppe Sinopoli testify. On this occasion they didn't quite sound at their very best and were not helped, it must be said, by the Albert Hall organ dominating the texture a little too often, but there were many wonderful things about this performance. Like Runnicles, Luisi underplayed the work's excesses, marshalling his resources carefully for a few specific climaxes. The build-up to the Sunrise was a little rushed, but elsewhere he proved an outstanding guide. The brass were gloriously musical at the climax and the Storm was unleashed with immense power. It was perhaps in the final sections, however, that the performance was at its best, their tenderness and melancholy beauty captured with quiet passion.
By Hugo Shirley
Photos: Donald Runnicles; Lang Lang (Copyright © Deutsche Grammophon/Felix Broede) 
Related articles:
Concert review: Handel's Partenope at this year's Proms
Concert review: The Proms chamber music series opens at Cadogan Hall
Concert review: Purcell's The Fairy Queen at this year's Proms
Concert review: The First Night of the 2009 Proms