| Main Performers | Shelley Berman,
Marty Feldman - speakers |
| Orchestra or Band | Royal Philharmonic Orchestra
Deep Purple (Jon Lord - keyboards, Ritchie Blackmore - guitar, Ian Gillan - vocals, Roger Glover - bass guitar, Ian Paice - drums) |
| Set List | 'Symphony No.6, Op.95', Malcolm Arnold (Royal Philharmonic Orchestra),
'More Shades of Deep Purple' (Deep Purple),
Speech (Marty Feldman, Shelley Berman),
'Concerto for Group and Orchestra', Jon Lord (Deep Purple, Royal Philharmonic Orchestra)
ENCORE
'Final Movement - Concerto for Group and Orchestra', Jon Lord (Deep Purple, Royal Philharmonic Orchestra) |
| Performance Notes | Debut Royal Albert Hall performance by Deep Purple.
This was one of the earliest examples of a rock band collaborating with an orchestra.
The concert was filmed and was also recorded by Delane Lee (sp.).
'Concerto for Group and Orchestra' was recorded and officially released.
Photographs of the event are available from PA Images.
"PURPLE DO IT - The Albert Hall Concert on Wednesday September 24th, featuring Deep Purple in concert with the Royal Philharmonic Orchestra, was possibly the most important musical event since Epstein met the Beatles....
Okay, so the Nice, Mason Williams, Bakerloo, Love Sculpture et al have all dabbled with the classics, borrowing basic themes and/or bits of classical arrangements. But they have only been borrowed, even if the extemporisations on those purloined foundations have been expertly and imaginatively done. Deep Purple have succeeded where all the others have failed (or not even had the courage to try) in fusing straight rock with classical and producing ....? Well classical rock. The fact that Deep Purple's organist, John Lord, was able to write, arrange and score a work which could be executed by two entirely different groups of musicians, each with their own terms of reference, ideas and prejudices, merits him as some sort of visionary. Neither the group nor the RPO at anytime gave anything away musically to each other; they staunchly maintained their own identities throughout the three movements of the piece. The string sections were particularly outstanding in juxtaposition with the hard electrics of guitarist Ritchie Blackmore and the orchestral percussion said much more than that of 'Africa' or the rhythm section on the CTA's version of 'I'm a Man' whilst jogging alongside DP's drummer, Ian Paice. These are isolated examples of what was an involved and composite musical phenomenon; citing them is merely a device to attempt to convey the significance of what was happening.
The evening began with a piece written by Malcolm Arnold which he conducted and which left me fidgeting and slightly bored. Then Deep Purple (amusingly announced, as the 'Deep Purple Group' by some very hipless M.C.) came and were a straight rock group for an interesting half hour of purely prog, music. Marty Feldman came on with the prerequisite mini-skirted dolly, delivered a nice little speech about the charity which the show was in aid of (Task Force), leaving out the bit on his script that said 'Not all young people are squatters, hippies and Hells Angels, Blah, Blah, Blah'. Then he and Shelley Berman drew the lucky .programme numbers out of a drum, replete with humorous asides and everyone waited for the big moment.
The 'Concerto for Group and Orchestra' consisted of three movements, each with its own identity and theme, each with passages for orchestra, group and then orchestra and group. It was balanced and immediate. Conductor Malcolm Arnold called it 'witty and lively'.
The group performed it magnificently, Blackmore demonstrating a dexterity that left some of the RPO string players gawking and the rest of the group playing to the best of their very substantial abilities. John Lord didn't sound remotely like Keith Emerson, so yah boo!
The standing ovation lasted about six minutes and clearly overwhelmed the group, particularly John, the author of the work. They played the last movement again and still found it difficult to leave the stage. The audience, which was a happy cross-section of the musical public, wouldn't let up. One realises why - the barriers are finally down."
(The International Times, September 1969)
In an interview for hospital radio in Huddersfield in 1970, shortly after the Royal Albert Hall performance, Malcolm Arnold provided a positive take on the experience:-
"What strikes me about Deep Purple is their tremendous musical integrity. This is so refreshing in a commercial world. I loved working with them. They're thorough musicians. They're not trying to prove anything. They just like to play now and again with a Symphony Orchestra. They're not trying to prove any deep philosophical problem. They just want to write music that's enjoyable."
In a 1979 interview with Sounds magazine, guitarist Ritchie Blackmore said:-
"I was not into classical music then. I was very very moody and just wanted to play very very loudly and jump around a lot. I couldn't believe we were playing with orchestras. We kept getting lumbered playing with them. We started off in '68- this is my opinion- as a relatively competent band with a lot to say but saying it all at the same time as each other.
"in '69 we went into the classical stuff because it was Jon Lord's big thing to write a concerto for group and orchestra. He was very sincere. But I didn't like playing it or respect the fact that we were doing it. The orchestra was very condescending towards us, and I didn't like playing with them, so it was one big calamity onstage. But Jon was happy with it and management was happy with it because we had a press angle, which I resented very much.
"In 1970 I said, 'right, we're going to make a rock and roll LP. If this doesn't succeed I'll play in orchestras for the rest of my life', because Jon wasn't too into hard rock. Luckily it took off, so I didn't have to play with orchestras any more.
"I love orchestras, chamber musicunaccompanied violin is my favourite. But I respected them too much, and we just weren't in the same calibre. I'd been playing 15 years at the time, and stuck next to some dedicated violinist who's been playing for 50 years just to give an angle to the pressit's insulting. That's why it started and ended very abruptly. |
| Related Archival Material | Programme (RAHE/1/1969/139) |