“If it were a blind tasting you would be definitely getting a taste of premier cru”
Editorial Rating: 4 Stars: Nae Bad
The winter season has been cruel to the fans of the more well known soloists booked by the Scottish Chamber Orchestra. Thursday’s concert, the latest of three I had planned to attend, was, for the third time in a row for me, blighted by the non-appearance of not only the soloist but also the conductor. The SCO points out in its no-show apology that there are no refunds because they have the right to substitute artists. Other Scottish orchestras take a less severe line. I had wanted to see Schiff a few weeks ago, I had wanted to see Tetzlaff on Thursday. I wanted to see Ticciati. That’s why I put the concert in the diary. All pulled. Ticciati’s on-going back problems deserve sympathy and should be recorded here. One hopes he can make it for his farewell concert next week. For the others, one wonders.
I decided to stay, not least because I feared that opportunities to review the SCO were proving elusive. I am glad I did, because that fickle spirit, Live Music, triumphed, and I learnt a lesson.
The B Team were young, but what they lacked in experience they made up for in enthusiasm, technical competence, and considerable depth of interpretation beyond their years. The concert was a joy from start to finish, melodic, engaging, very well played, relaxed and entertaining. Maxim Emelyanychev stood in for Robin Ticciati. A student of Rozhdesvensky and the Moscow Conservatory he has, at the tender age of 29, yet to conduct a first rank orchestra, but is booked next season for the Royal Philharmonic, the St Petersburg Philharmonic and at Glyndebourne with the Orchestra of the Age of Enlightenment. So tonight we were shown a window into a promising future.
Perhaps Josef Spacek, standing in for Christian Tetzlaff, has a few more pips on his shoulder. He has appeared not only with his native Czech Philharmonic, but also, among others, the Philadelphia Orchestra, Bamberger Symphoniker, Rotterdam Philharmonic and Netherlands Philharmonic. This was his first gig with a British orchestra. The 32 year old did well.
And so to the music. Of the three concertos written by Dvorak, I would put the piano concerto in the second division, the violin concerto at the bottom end of the first, and the cello concerto as a masterpiece. I personally prefer the Romance for Violin and Orchestra to the concerto, but of course the latter is a more substantial work. Spacek took immediate control with confidence, smooth phrasing, great tone and sufficient volume even way up high on the E string, standing out from the orchestra notwithstanding the limitations of his instrument. Emelyanychev kept the orchestra in balance but brought everything out of the piece in a conducting style that was confident and far from laid back. The orchestra was competent and supportive after just the slightest waver on the fiendishly difficult and exposed horn opening, and one was in no doubt as to the natural synergy between the triad of orchestra, soloist and conductor, completely forgetting that two of them were stand-ins.
I cannot write about Schubert’s 9th Symphony without a reference to my then eight year old daughter chatting to a violinist from the London Philharmonic Orchestra during the interval at a concert at the Royal Festival Hall, just before playing the work. He said that he and his colleagues called it “The Great Sea Monster” and that is what the Great C Major has been in our household ever since.
The symphony is not without its challenges to the listener. The key of C has its limitations, and for Schubert it is relatively long. There is plenty of melody, but also quite a bit of ‘fill’. The solution, as rightly executed by Emelyanychev, is to take it at a cracking pace. The SCO was melodic, cohesive, disciplined and played it better than many. I should give a special mention to the timpanist who unusually was given an opportunity to demonstrate his considerable expertise. Overall it was a very accomplished performance by both orchestra and conductor.
The lesson for this writer is, once again, with live music you never know what you are gong to get. Stars can disappoint, relatively unknowns can surprise and impress. To mix my metaphors, while the names tonight were perhaps more Naxos than DG, if it were a blind tasting you would be definitely getting a taste of premier cru.
Reviewer: Charles Stokes (Seen 15 March)
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