Andre Previn's pulling power

In classical music, the "special relationship" is alive and well

Andre Previn, Anne-Sophie Mutter, Yuri Bashmet, LSO
Barbican Hall, 7.30pm, 19 February 2012

Politically things may have cooled, but in the world of classical music the transatlantic "special relationship" is still alive and flourishing. Following closely on the polished heels and glossy tail-coats of last week's New York Philharmonic's residency comes a visit from legendary octogenarian pianist and conductor Andre Previn, rejoining the London Symphony Orchestra for an all-American programme of 20th century music.

Previn may have left the position of Principal Conductor at the LSO some decades ago, but his visits have been so frequent that London audiences have scarcely had cause to mourn. Judging by the conductor's increasingly frail and effortful journeys to the podium however it's a collaboration that we should enjoy while we still have the chance - a sentiment clearly shared by the Barbican crowd, warm with enthusiasm for Previn.

The concert's centrepiece was the European premiere of Previn's own Concerto for Violin and Viola, which saw the LSO joined by the work's dedicatees, violinist Anne-Sophie Mutter (also for a time Previn's fifth wife) and violist Yuri Bashmet. Following in the tradition set by Previn's earlier compositions it's a polyglot creature, conservative in its harmonic language but borrowing freely from many different tonal traditions.

Previn's longstanding relationship with film-music prompts inevitable comparisons with Korngold, but there's an elegiac wistfulness to this particular concerto that speaks more loudly of Walton and Howells (the viola's opening gambit especially), their English voices in dialogue with jazz-inflected moments of Ravel and pure Americana. It's a modest concerto - less than 20 minutes of music, treating its two soloists texturally and often in duet.

Last night it was a pairing that worked rather better for Mutter, whose lines were unusually charged with emotion, largely obliterating the under-projected, poorly-tuned and non-committal mutterings of Bashmet. A capricious musician, Bashmet may be unbeatable on form, but his moody inconsistency is making him ever more of a risk as a soloist.

Aaron Copland's ballet Appalachian Spring in its full orchestral arrangement offered an enticing curtain-raiser, but I wonder how Martha Graham and her company of dancers would have coped with Previn's tempos which charity might call poised, but often dragged the work's pulsing syncopations almost to a standstill. Previn's beat - so precise and clear in both his own music and the Harbison symphony - seemed an unreliable guide for the LSO whose floundering ensemble and wrong entries spoke of general uncertainty. There were hints of Copland's glowing folk warmth in the slower string passages (and leader Roman Simovic's solos were a highlight) but with the work slipping in and out of focus these were never quite sustained into anything more substantial.

Although well-known in his native America, John Harbison's works are rarely heard (and still more rarely discussed) in the UK. An academic by inclination as well as by trade, his continuous five-episode Symphony No. 3 is a good sampler of the composer's technique - rigorous structural architecture underpinning attractive textural effects. With their programmatic titles - "Disconsolate", "Nostalgic", "Militant" - the movements lend themselves to evocation, an approach that works particularly well in second episode "Nostalgic", where disparate memories stir from each orchestral section - a folk tune from the woodwind, grudging remembrances from the brass - before becoming woven together in a colourful fog over sustained pedal points. "Militant" stages a vibrant fist-fight between tuned percussion and orchestra (with the LSO percussion section redeeming themselves after issues in the Copland), before we cruise into the finale and a huge groove from the brass.

Technical issues aside this was a fascinating concert: an evening's American holiday that educated as much as it entertained. The pulling-power of the mighty Previn is such that a rather abstruse programme drew a full crowd, and I'm sure I'm not alone in hoping that this most determined ambassador for American music continues to return to the London and the LSO for as long as he is able.

 

Photo: NRK
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Skam, interrupted: why is the phenomenally popular teen drama ending before its peak?

The show has been building towards high school graduation – but now it’s ending before its lead characters finish school.

“Have you heard they started their bus already?”
“No!”
“One month into high school – and they started their bus.”

This Skype conversation between Eva and Isak comes early in the first episode of Skam. The phenomenally internationally successful series follows teenagers at a high school in Oslo. The “bus” they're discussing is a key plot point and concern of the students' lives. That’s because, in Norway, graduating high school students participate in “russefeiring” – it’s a rite of passage into adulthood, a celebration of completing high school, and a farewell to friends departing for university or jobs around the country.

Students gather into groups, give their gang a name, wear matching coloured overalls, rent a big car or a van, and spend late April to mid May (17 May – Norwegian Constitution Day) continuously partying. They call it the “three week binge”. It’s a big fucking deal. 

Skam, with its focus on teens in high school, has therefore spent a lot of time thinking about “russ”. The show, which is set at the exact same time it airs, has followed its four main characters Eva, Noora, Isak and Sana (who each have a season of the show written from their perspective, a la Skins), as well as all their friends, from their first few weeks at school in September 2015. In other words, preparations take years, and we’ve heard a lot about the plans for their russ bus.

In season one, Eva has fallen out with her best friend, and is hurt when she hears she is moving on and has formed a new bus, with new friends, called Pepsi Max.

We meet one of the show’s most prominent characters, Vilde, when we see her trying to get a bus of girls together. The show’s five main girl characters, Eva, Noora, Vilde, Chris and Sana, become friends because of her efforts: they bond during their “bus meetings” and fundraising attempts. They flirt with a group of boys on a bus calling themselves “The Penetrators”.

The latest season follows Sana’s struggles to ensure the bus doesn’t fall apart, and an attempt to join buses with rivals Pepsi Max. The joyful climax of season four comes when they finally buy their own bus and stop social-climbing, naming themselves “Los Losers”. Bus drama is the glue that keeps the show together.

But now, in June 2017, a whole year before the characters graduate, Skam is ending. The architect of the girls’ bus, Vilde, has never had her own season, unlike most of her friends. Many assumed that Vilde would have had her own season during her final year at school. Fans insist the show’s creator Julie Andem planned nine seasons in total, yet Skam is ending after just four.

The news that Skam would stop after season four came during the announcement that Sana, a Muslim member of the “girl squad”, would be the next main character. The show’s intense fandom were delighted by the character choice, but devastated at the news that there would only be one more season. “I can’t accept that this is the last season,” one wrote on Reddit.

“I'm so shocked and sad. It’s honestly just...weird. It doesn’t make sense, and it’s not fair. It’s not fair that we’re not getting a Vilde season. Most importantly, it’s not fair that we’ll never get to see them on their russ, see them graduating, nothing. It seems like such an abrupt decision. It doesn’t serve the storyline at all.”

No one has given a concrete reason about why the show ended prematurely. Ina, who plays Chris, said in an interview that “we all need a break”.

Some fans went into denial, starting petitions to encourage Andem to continue with the show, while rumours abound suggesting it will return. 

Many speculated that the show simply became too popular to continue. “I think that the show would have had six seasons and a Vilde season if the show didn’t become popular outside of Scandinavia,” one wrote. “I think the pressure and the large amount of cringy fans (not saying that some Scandinavian fans aren’t cringy) has made making the show less enjoyable for the actors and creators.”

Andem has stayed mostly quiet on her reasons for ending the show, except for a statement made via her Instagram. She recalls how very early on, during a season one shoot, someone first asked her how long the show would last:

“We were standing in the schoolyard at Nissen High School, a small, low-budget production crew, one photographer, the sound engineer and me. ‘Who knows, but I think we should aim for world domination,’ I said. We all laughed, ‘cause I was obviously joking. None of us understood then how big Skam would turn out to be. This experience has been completely unreal, and a joy to be a part of.”

Skam has been a 24/7 job,” she continues. “We recently decided that we won’t be making a new season this fall. I know many of you out there will be upset and disappointed to hear this, but I’m confident this is the right decision.”

Many fans feel that season four has struggled under the burden of ending the show – and divisions and cracks have appeared in the fandom as a result.

Some feel that Sana’s season has been overshadowed by other characters and plotlines, something that is particularly frustrating for those who were keen to see greater Muslim representation in the show. Of a moment in season four involving Noora, the main character from season two, one fan account wrote, “I LOVE season tw- I mean four. That’s Noora’s season right? No wait, is it Willhell’s season??? What’s a Sana.”

Others feel that the subject of Islam hasn’t been tackled well in this season. Some viewers felt one scene, which sees Sana and her white, non-Muslim friend, Isak, discuss Islamophobia, was whitesplainy. 

One popular translation account, that provides a version of the show with English subtitles, wrote of the scene: “A lot of you guys have been disappointed by the latest clip and you’re not the only ones. We do want to finish this project for the fans but we are disappointed with how this season has gone.” They announced they would be translating less as a result.

The final week of the show has been light on Sana. Instead, each character who never received a full season has had a few minutes devoted to their perspective. These are the other girls from the girl squad, Vilde and Chris, and the boyfriends of each main character: Eva’s ex Jonas, Isak’s boyfriend Even, Eva’s current fling “Penetrator Chris” and Noora’s on-off boyfriend William.

It’s understandable to want to cover key perspectives in the show’s final week, but it can feel teasing – we get a short glimpse into characters' home lives, like Vilde struggling to care for her depressed mother, but the scene ends before we can really get into it. And, of course, it takes precious time away from Sana in the show’s final minutes.

Some were frustrated by the characters focused on. “Penetrator Chris” is a particularly minor character – one fan account wrote of his scene: “This is absolutely irrelevant. 1) It sidelines Sana 2) It asks more questions 3) It doesn’t answer shit. This isn’t even Sana’s season anymore and that’s absolutely disgusting. She didn’t even get closure or ten episodes or anything.

“Sana has been disrespected and disregarded and erased and sidelined and that is fucking gross. She deserved better. Yet here we are watching a Penetrator Chris clip. How ironic that it’s not even called just “Christopher” because that’s all he is. “Penetrator Chris”.

It’s been a dramatic close for a usually warm and tight-knit fan community. Of course, many fans are delighted with the final season: their only sadness is there won’t be more. One of the largest fan accounts tried to keep things positive. “I know people have mixed feelings about Skam and who deserves what in terms of screentime this season (etc),” they wrote, “which I totally understand.

"However, everything has already been filmed, so there is nothing we can do about it. I think this last week of Skam will be much more enjoyable for everyone if we focus on the positives in the clips ahead. Skam isn’t perfect. People are allowed to disagree. But let’s go into this week being grateful for everything Skam has given us.”

Some fans choose to look to what the future holds for the show – an American remake. It will keep the same characters and plotlines as the original, and Andem may be involved.

Few think it will be a patch on the current show, but some are excited to have the chance to watch it teasingly as a group regardless. It seems unlikely that the US remake will compare in terms of quality – not least because the original was so heavily researched and tied to Norwegian culture. But for fans struggling to let go of Skam, it can’t come soon enough.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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