Empire Theatre, Eden Court, Inverness, 5 March 2010

Andrew Manze

LAST FRIDAY saw the only visit to Inverness during the current season of orchestral concerts by the acclaimed BBC Scottish Symphony Orchestra. This highly versatile Glasgow-based band has given the Highland audience some excellent performances in the past, so a popular programme of Brahms and Mozart under their new Associate Guest Conductor-Designate, Andrew Manze, promised well.

Manze has also found a place in the affections of Inverness music-lovers from his previous visits as director of the Academy of Ancient Music, giving the last concert before Eden Court closed for its extensive rebuild, and as conductor with the Scottish Chamber Orchestra.

If there is one thing that can be said about Brahms, it is that he was one of the great German romantics, and that was the mood of the concert overture that opened the performance. Although Brahms called his work the Tragic Overture, there is nothing tragic about it in the conventional sense, for the name is taken from the concept of Greek tragedy, as in dramatic, or heroic; either description would fit this pure example of the Brahms style of full rich sounds that made demands on all the sections of the orchestra.

As if the brass section needed a rest after their travails during the Overture, the Mozart Oboe Concerto in C major, K314, was accompanied by a reduced string section, a pair of horns and a couple of oboes. The Orchestra’s principal oboe, Stella McCracken, took on the solo role with assured commitment, and really came into her own during the cadenzas that garnished each movement, easily delivering the long unbroken phrases that are involved.

By comparison, her orchestral accompaniment seemed slightly lacklustre; not enough to spoil the overall impression of the performance, but there could have been a bit more sharpness and zest to match that of the soloist.

Historians have some doubt about the origins of this Oboe Concerto, as it was not discovered until 1920 and is believed to have been composed in January or February 1778 in Mannheim. Although there are records of an earlier concerto for oboe which has been lost, it is thought that it is the same as the one that is known today.

However, Mozart was not averse to a bit of recycling, and when he was commissioned to write a Concerto for Flute later in 1778, he merely rewrote the Oboe Concerto in the different key of D major. Although Mozart is known to have been none too keen on the flute, there are many who prefer that version with its purer voice as opposed to the reedy sound of the oboe.

After the interval, it was back to Brahms for his Symphony No. 1 in C minor, a work that caused the composer much angst. It took over twenty years for Brahms to complete it to his satisfaction, and the legend is that he felt so much in the shadow of Beethoven that he considered himself unworthy to follow in the great man’s footsteps.

Certainly there are quotes from Beethoven, in particular from the Fifth Symphony, but then there are also quotes from Wagner. However, the overall symphony is undoubtedly Brahms, even if history has been somewhat unkind by giving this magnificent work the soubriquet “Beethoven’s Tenth”.

As a conductor, Andrew Manze believes in communicating with his audience, and his few words of introduction to each half of the concert were most welcome. After each talk he turned to the orchestra and seemed to physically launch himself into his task with tempi that might be described as generous.

On many occasions this would be fine, but there are so many delightful moments of suspense this Symphony, especially during the transition from adagio to allegro in the final movement, that were overrun by the pace of the playing.

There is no doubt that the sense of occasion experienced at a live performance can overcome many shortcomings, even though there is a treasury of excellent recordings out there that can lead the audience to unreasonable expectations.

The BBC Scottish Symphony is a fine orchestra that can hold its own in any arena, and even if they are not at their best, their concerts are well worth attending. Certainly the Inverness audience is anticipating future visits, hopefully with the orchestra’s new Chief Conductor, Donald Runnicles, as long as he does not share his predecessor’s aversion to the A9.

© James Munro, 2010

Links

• BBC SSO