Empire Theatre, Eden Court, Inverness, 25 February 2011

RECORDED live for future broadcast on BBC Radio 3, the BBC Scottish Symphony Orchestra’s latest concert featured an enjoyable series of theatrically inspired works by Schumann, Mozart and Stravinsky. Led by composer and conductor Matthias Pintscher (the SSO’s new Artist-in-Residence), the SSO opened the programme with Schumann’s Overture: Genoveva.

The BBC SSO pictured at the Usher Hall in Edinburgh

Known primarily for his exploration of song on a more intimate scale, Genoveva is an interesting work in Schumann’s oeuvre, a lyrical foray into operatic composition without extreme pomp or drama. Gentler and more symphonic in character, Schumann sketches out the main thematic elements of his drama in keeping with the sensibility of his source material; the medieval legend of St Genevieve of Brabant. Central themes of innocence and honour set the tone of the whole work, Schumann’s Romanticism tempered in a way that makes this overture the perfect introduction to a very pleasant evening of orchestral music.

Mozart’s Symphony No. 38 in D, K.504 ‘Prague’,followed, delivering characteristic structural prowess and theatrical flourish, performed with joyous energy by the whole SSO ensemble. Lightness of touch in the meandering second movement Andante, contrasted with more dramatic undercurrents reflective of the composer’s operatic compositions, made this a comfortable and familiar work. There is nothing too extreme or challenging to the listener, and although there were strong thematic links in the programming in terms of theatre and 18th century form, less obvious narrative between musical works arguably provide a more invigorating context to hear standard repertoire with fresh ears, rather than lulling the audience into a pleasant state of unconsciousness.

Where an audience is permitted to make connections aurally in terms of the influence of one composer on another, the musical expression of an idea or is presented with the juxtaposition of radically different works, new light is shed on old classics. Broadcasting is the perfect arena to enlighten as well as entertain, and a more expansive dialogue between selected works might have informed the choice of repertoire to a greater degree.

Composer and conductor Matthias Pintscher

Fortunately Stravinsky’s Pulcinella, a ballet in one act for small orchestra with three solo voices after Giambattista Pergolesi, provided some much needed excitement, colour and variety of musical textures in the second half of the programme. The episodic nature of this piece, a series of musical sketches both instrumental and vocal based on an 18th century commedia dell’arte libretto, utilised the whole orchestra to great effect, allowing the characters and individual voices of the instruments to resoundingly emerge.

There are flashes of signature Stravinsky in the strings, particularly during the Allegro assai section; however what makes this piece so fascinating is its evocation of musical and theatrical conventions of an earlier age. The merging of folk and classical traditions as part of the composer’s evolving vision make this an exciting piece of music history, structure and the element of play equally audible in this refreshing piece.

Featuring solo vocalists Karen Cargill (soprano), Thomas Walker (tenor) and Andrew Foster-Williams (bass), the movement between each section of Pulcinella is delightfully unexpected. Dialogue between soloists, the oboe introduction to Thomas Walker’s ‘Serenata: Larghetto’, played exquisitely by Stella McCracken, or the blend of all three voices in ‘Sento dire no’nce pace’, created a sense of the work constantly shifting.

Originally a collaborative project with the choreographer Sergey Diaghilev and first performed by the Ballet Russes in 1920 with designs by Picasso, this sense of fluidity and movement is palpable even in a concert form. Soprano Karen Cargill, who had replaced soloist Inglia Bohlin due to illness, shone in her solo performance of ‘Se tu m’ami, se tu sospiri’, delivered with silken phrasing and great poise.

The SSO delivered a strong performance with Matthias Pintscher at the helm, and while the overall choice of works might have provided a more challenging context for the performance of established repertoire, the quality of performance made for a very enjoyable evening.

© Georgina Coburn, 2011

Links

• BBC SSO