United Kingdom Fauré, Lindberg, Stravinsky, Shostakovich: Pekka Kuusisto (violinist) Scottish Chamber Orchestra / Maxim Emelyanychev(conductor), Metropolis Halls, 23.2.2024. (GT)

Fauré – Suite: Pelléas et Mélisande, Op.80
Lindberg – Violin Concerto No.1
Stravinsky – Concerto in E-flat main, K060 ‘Dumbarton Oaks’
Shostakovich (arr. Barshai) – Chamber Symphony, Op.110a

Ever since Maxim Emelyanychev arrived in Scotland, the live performance programmes have develop into more and more fascinating – typically seven or eight works carried out on a night of eclectic items from completely different eras in music. Right here we had been restricted to 4 compositions from various musical kinds. To open the live performance with Gabriel Fauré’s vibrant romantic piece and shut it with one in every of Shostakovich’s most tragic works was as a lot a problem for the audiences because it was for the musicians. On this live performance, the Russian conductor positioned his double bass gamers in entrance of him above the woodwind part with the violins dealing with one another, and on the rear, the timpani had been virtually hidden from view.

The sound image was tailored to permit one thing darker aurally as we heard the opening Prelude of the Fauré suite start with light phrasing from the violins virtually murmuring of their intonation. As the remainder of the orchestra joined in, there got here a measured, but loud improve in quantity earlier than switching to a captivating concept on the woodwind, heralding a mysterious name from the horn of Chris Gough echoed by the cellos in a captivating elegiac passage. Within the second motion, Fileuse, a playful concept from Robin Williams’s oboe and the flute of André Cebrián portrayed Mélisande on the spinning wheel, and within the ‘Sicilienne’, the harp of Eleanor Hudson and Cebrián’s flute evinced an interesting rhapsody in a pleasant evocation of the lovers’ assembly on the fountain which was combined with pleasure and melancholy. Within the finale La mort de Melisande, a lament for the heroine, Emelyanychev introduced the piece to a tragic, tragic shut.

A unique sound image opened in Magnus Lindberg’s First Violin Concerto as Pekka Kuusisto expressed a excessive penetrating tone which rose and fell earlier than he was joined by the violins in an enthralling sequence of ethereal taking part in – virtually otherworldly – and within the second motion, the aural canvas was enhanced by the woodwind invoking an odd cosmic stillness. The soloist developed on his opening theme and repeatedly plucked on his strings – making a magical temper because the brass launched an virtually Richard Straussian brightness as if heralding one thing momentous. Following a startling climax, Kuusisto usual a mesmerising cadenza that was interjected by the double bass of Nikita Naumov. This sequence led to an eloquent spine-tingling passage by Kuusisto within the third motion – resulting in a recent but unearthly theme on the violins, when the violin was joined by the double basses and woodwind constructing to a fruits; but somewhat than closing in glory, the concerto climaxed on a splendidly conciliatory notice.

The opening Tempo giusto of Stravinsky’s pre-war ‘Dumbarton Oaks’ launched us to neo-classicism with the strings asserting a brilliant, cheery sequence, adopted by the Allegretto, adorned by a gorgeous passage of wonderful virtuosity from the clarinet of Maximiliano Martin, the bassoon of Cerys Ambrose-Evans and vibrant flute solos by Cebrián. The ultimate motion, Con moto, introduced this piece to the celebratory finale after a decided build-up.

Shostakovich’s Eighth Quartet is by far the preferred of the cycle for its deeply tragic recollections of the horrors of battle, particularly the destruction of Dresden by the RAF in 1945. One would hope that different string quartets such because the Seventh, or Tenth had been heard extra typically. Rudolf Barshai additionally wrote variations of different Shostakovich chamber items. Opposite to the programme notes, the Eighth Quartet was composed within the Saxon resort of Görlitz after he had seen the bombed ruins of Dresden, the previous Saxon capital.

The depth of tragedy heard from the cellos within the opening Largo emphasised the gravity of the tragedy – enhanced by intense drama – and a Jewish theme emerged vividly whereas the fiery Allegretto third motion represented much more horrifyingly the violence of battle. The repeated quotation of the DSCH motto was eloquently shared by the string teams and distinctly within the two closing Largo actions, with an particularly expressive portrayal of the droning of bombers within the fourth motion. There was the suggestion of hope within the quotation of a craving and enlightening theme from Girl Macbeth of Mtsensk within the cellos. Below the steering of the Russian-born conductor, every orchestral group demonstrated world-class taking part in by evincing all of the depth and forceful depth of Shostakovich’s masterpiece.

My solely difficulty is that I’ve all the time discovered that the string quartet brings out the depth and emotional content material extra succinctly than this 1967 model for string orchestra. On the eve of the second anniversary of the battle within the Ukraine – and now with one other battle within the Center East – this was a poignant reminder of how fragile is our world.

Gregor Tassie