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SEEN AND HEARD UK CONCERT REVIEW
Dukas, Knussen, Rachmaninov: Royal Scottish National Orchestra, Leila Josefowicz (violin), Stéphane Denève (conductor), Usher Hall, Edinburgh, 28.1.2011 (SRT)
Dukas: The Sorcerer’s Apprentice
Rachmaninov: Symphony No. 2
One of the consequences of living in a global musical age is that the
distinctiveness that marked out orchestras of different nations has now largely
been diluted and it’s a lot harder now to distinguish, say, a French orchestra
from an Italian one. That carries some losses, but it also means that quality
of playing tends to be more even between countries too. There was a time when
the surging theme of the Adagio from Rachmaninov’s Second Symphony only
sounded satisfying when played by a Russian orchestra, but tonight the strings
of the RSNO swelled and pulsated with Romantic energy that sounded every bit as
convincing. When this was followed by a clarinet solo of effortless breadth
and beauty there was a lot to be happy with and the colours of the performance
glittered through as often as possible, even if the brass weren’t always as
together as they could have been. Conductor Stéphane Denève phrased the work
with loving beauty and a keen eye for architecture, especially in the finale,
which romped home to a resoundingly satisfying conclusion. Colour and shine
were also the keynotes in The Sorcerer’s Apprentice, which was quirky
and evocative as required, even if Denève didn’t quite succeed in his aim of
bringing out the anxiety of the story.
Not for the first
time this season, however, the most interesting work of the evening came from
the Ten out of 10 series. Oliver Knussen’s violin concerto was
premiered in 2002 by Pinchas Zukerman, but Leila Josefowicz has played it
around fifty times since, often with the composer conducting. She plays the
work with a real sense of ownership, understanding it from the inside and
revelling in its rich textures. Knussen structures it as a series of scenes
(Recitative, Aria, Gigue) rather than distinct movements, each flowing into one
another organically. The work’s circular structure also lends it a clear
feeling of unity, beginning and ending with a chord on two bells as the
violinist plays a top E. The opening movement feels busy, even strident at
times, and the finale fully lives up to its Gigue title, a swirling perpetuum
mobile with a hint of demonic energy. The heart of the work, however, is
the astonishing central Aria, a spellbindingly beautiful, angular
melody, spun with effortless intensity from the soloist. Josefowicz came into
her own here, sailing beautifully over the chorale-like orchestral texture
while extending the melody’s long line with hypnotic intensity. Orchestral
support was discrete and thoughtful, completing a perfect introduction to a
work which I already look forward to hearing again.
Simon
Thompson