SEEN AND HEARD INTERNATIONAL

Schubert: Scottish Chamber Orchestra, Christian Zacharias (conductor/piano), Usher Hall, Edinburgh, 15.4.2010 (SRT)

Schubert: Piano Sonata in D, D850;  Symphony No. 9 in C, “The Great”

It's comforting to remember that while the country goes politics-mad in the run-up to the general election, the arts and all that is good about them remain. So it was that last Thursday, while Brown, Cameron and Clegg squared up to each other in the first of the Prime Ministerial debates, I sat in a well filled Usher Hall listening to one of our finest Schubertians in a showcase of pianism and orchestral style. The SCO’s brochure claimed with some justification that “Christian Zacharias could well be the only musician who could give this concert,” and the unusual pairing of a late sonata with Schubert’s final symphony gave us an all too rare window into the riches of the composer’s final years. That said, Zacharias impressed me a lot more at the piano than at the podium.

The D major sonata is renowned for its physical virtuosity, particularly in its first movement, but under Zacharias the exuberance was smoothed over with honey, a gorgeous legato mellowing the contours of the first movement. There was still plenty of optimism, and the legato worked well with the second subject’s rippling left hand accompaniment. It was perfectly suited to the smooth refinement of the slow movement’s con moto. This movement maintained its momentum but managed a lovely Schubertian glow, with a beauty that was wonderfully restful. Ebullience arrived at last with the scherzo, and the all-important rhythms were light and springy beneath his fingers. The finale was played with Haydnesque humour, winding down to a beautifully paced ending that reflected his unfailing sense of rhythm, architecture and structure.

For a pianist to take the podium in the same concert is a noteworthy achievement, and Zacharias’ control of the “Great” C major symphony showed an ability to shape a Schubertian line, though there wasn’t as much security or flair as in the sonata. The first movement’s exposition, for example, unfolded at a fairly uniform tempo and dynamic which didn’t colour the music in the way that it could, and the surging string rhythms felt as though they were being held back. The slow movement felt much more colourful and by the time we got to the headlong thrust of the scherzo there was plenty of vigour and attack. The quivering energy of the finale renewed my confidence, though. Here was real drama and impetus where even in the quieter moments the feeling of scarcely contained energy rippled in a way that meant the temperature never dropped, and a subtle diminuendo on the final chord gave a surprising finish. Playing from the SCO was as top notch as ever, even with quite a few faces in the orchestra that I didn’t recognise. Of the frequent opportunities for the winds to shine, none were allowed to go to waste.

Not perfect, then, but an evening that was never less than interesting, and a far better way to spend the evening than watching the debates. On polling day itself the orchestra are playing Brahms and Schumann – what better incentive to vote early in the day?

The SCO have just announced the details of their 2010-11 season. Subscriptions are on sale now. Single tickets for individual concerts go on sale on Tuesday 1^st June. For full details go to www.sco.org.uk

Simon Thompson