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SEEN AND HEARD UK CONCERT REVIEW
Haydn: Symphony No. 94 "Surprise"
Szymanowski: Violin Concerto No. 2
Stravinsky: Orpheus
First, a confession: I am no fan of Szymanowski. Despite the best
efforts of his most eloquent contemporary advocates, including Rattle
and Gergiev, his hyper-Romantic, perfumed world is a step too far for
me. Every time I've heard his music I've come away impressed but
unmoved and ultimately I think the cloying gloop of the sound texture
is just too much for me.
Having got that off my chest, I should also say that this evening's
concert contained the finest Szymanowski performance I've heard to
date. At first glance this composer's lush, wallowing textures are a
world away from the core repertoire you would associate with the
Scottish Chamber Orchestra, but in many ways this was their secret
weapon: the transparent textures and willingness to listen, which you
get at its very best in small orchestras, opened up this unique sound
world in a way that cut down the calories and shone daylight into
murky spaces. I kept hearing things in this concerto that I had never
picked up on before, like the skill of the wind writing and the
delicacy of the piano part. Riding the wave was Renaud Capuçon, surely
among the first rank of violinists today, though I was surprised to
see him reading the music as he played. Capuçon has the ability to
make a single note soar or sob, so refined is his articulation and
musicianship. His violin sang with intensity during the earlier, more
lyrical section of the concerto, while the more folk-influenced second
half sparkled and glinted in its more jerky rhythm and feel. His
linking cadenza was dazzling, seeming at times as though one violin
wasn't enough to contain all he had to say through it.
Transparency was also the best thing about Stravinsky's Orpheus.
Tonight was the last instalment in the orchestra's series of
Stravinsky's neoclassical ballets, and Orpheus is surely the
most austere of the featured three, written as it was in the aftermath
of the devastation of the Second World War. Again, the clarity of the
textures allowed Stravinsky's prinked, precise orchestration to come
to the fore in almost microscopic detail. Each individual dance was a
perfect study in mood and character, from the violence of the Furies
to the eloquence of Orpheus himself. I especially loved the hypnotic
opening as the harp picked out its theme over a bed of strings,
returning at the very end of the work to lend it a fulfilling sense of
symmetry.
As with the
previous instalments in this series, Stravinsky was paired with
Haydn to point up the neoclassical elements in the former, though
Ticciati's reading tended to bring out what was new and original about
Haydn's score, particularly through the tempi. The first movement's
second subject bounced and swung with an entirely different rhythm to
the first subject, like a rustic dance in contrast to its stately
cousin. Delicate pointing of the rhythm also distinguished the very
end of the symphony, though I wasn't so convinced with Ticciati's
distortion of the timing in the minor key third variation of the slow
movement; to me it sounded wilful and unnecessary. Still, no-one could
deny that vigour and life breathed through every phrase and the
orchestra's virtuoso performance, both individually and together, was
never in doubt.
Simon Thompson