OneTouch Theatre, Eden Court, 20 April 2010

VIVALDI’S Le Quattro Stagoni, The Four Seasons Op.8 No 1-4, is perhaps one of the most widely known and best loved pieces in the entire classical repertoire. In the hands of The Scottish Ensemble it was like hearing it for the very first time, infused with the elemental energy and vibrancy observed in nature.

Scottish Ensemble

Paired with The Four Seasons of Buenos Aries by 20th century Argentinean composer Astor Piazzolla, the dynamics of two seasonal hemispheres entwined to deliver an engaging, hugely enjoyable and unique musical experience.

Dialogue between works is always a defining feature of Scottish Ensemble programming and Eight Seasons was no exception. The colour and vitality of each alternate movement provided both complimentary and highly contrasting sounds that captivated the imagination entirely.

The enduring strength of Vivaldi’s work lies in its visual element, together with the universal experience of nature’s eternal cycles. Returning to the original poetic text to evoke sounds more natural than classical from the strings was a noticeable feature of this performance, sometimes in an overtly illustrative way such as in the viola imitating a barking dog during the Spring Largo section, or with sheer brilliance in the squalling introduction of Winter.

The variety of sound possible within the work was also greatly expanded by the use of baroque bows on modern instruments in the Vivaldi sections, resulting in a lighter, more rapid delivery of sound. The substitution of lute for harpsichord contributed an interesting timbre to the overall tapestry, revealing The Four Seasons as a work of incredible subtlety, a quality not always communicated in concert hall performances.

Attuned perfectly with this delicacy is Scottish Ensemble Artistic Director and First Violin, Jonathan Morton, whose solos, coupled with the driving cascade of powerful energy from the whole ensemble in the Presto section of Summer or the Allegro of Winter, beautifully articulated the celebration of life that Vivaldi’s Four Seasons embodies. The enthusiasm of the Scottish Ensemble in performance is obvious and completely infectious.

Piazzolla’s Summer in Buenos Aires, following hot on the heels of Vivaldi’s Spring, introduced the audience to tango rhythms, percussive use of stringed instruments and strongly underpinning double bass, resulting in a heated, sultry mood punctuated by violent twists of high bowing. This sense of melodrama was expanded melodically in subsequent movements including the beautiful melancholic cello solo of Autumn in Buenos Aries.

Intensely visual, emotionally charged and cinematic in its appeal, Piazzolla’s music often resembled a swooningly dangerous Film Noir soundtrack, imaginatively blended with striking Latin rhythms, the playing of the thread of the strings resulting in high scratched sounds, or tapping and the thumping of the bridge.

Seamlessly woven into this cacophony of sound is the composer’s homage to Vivaldi, snatches and echoes of the 18th century work. In Winter in Buenos Aries this vibrant burst of fluid Vivaldian energy is interwoven back into deep melody so gracefully that one resoundingly heightens appreciation of the other.

Piazzolla’s Fuga y Mysterioso provided a much appreciated encore in this last concert of the current season. The Scottish Ensemble’s gift for reimagining the familiar and revealing the unexpected will continue with the launch of their 2010/2011 concert season (to be announced in full next month), including a performance with the Estonian Philharmonic Chamber Choir and cellist Natalie Clein with works by John Tavener and Arvo P&aauml;rt.

© Georgina Coburn, 2010

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