Perth Concert Hall
The Scottish Chamber Orchestra’s marketing department sold this season-closer under the banner “Maxim’s Firebird” and energetic Principal Conductor Maxim Emelyanychev obliged by delivering a singular account of Stravinsky’s score that was only predictable in its unpredictability.
Preceded by the encapsulation of Beethoven’s craft that is the Leonore Overture No 3 and the equally compact and radical First Violin Concerto of Prokofiev, with Alina Ibragimova as soloist, this was a concert of music usually heard by larger orchestras performed by a big edition of the SCO that made explicit use and purpose of its chamber music sensibilities.
In all cases, but especially in the Stravinsky, the result was revelatory. There were details in the music that appeared fresh and newly-minted; from Simon Smith’s celesta and piano and Eleanor Hudson’s harp on the one hand, and from first horn Zoe Tweed, first flute Daniel Pailthorpe and the regulars on the reed instruments on the other.
Just as important, though, was the dynamic control the conductor produced from the musicians all evening. That was evident in his clear insistence on playing more softly at the start of the Beethoven, and reached its apotheosis in the sequence of Rondo, Infernal dance, Lullaby and Hymn at the culmination of the Stravinsky. There have been louder Firebirds, but few with such contrasts in sound and mood, turning on a sixpence with breath-catching impact, and with a momentum that was truly magnificent.
Towards the end of Overture, following a perfectly positioned off-stage trumpet, there was a brief sense that the winds were overloud, even as the strings produced an impressive pianissimo, but in the Firebird Suite (the version Stravinsky made in 1945) the balance was always fascinating. It should be remembered that this is the hall in which Emelyanychev and the SCO worked on filmed music during lockdown, so they know the acoustic well.
That applied to the concerto as well, with Ibragimova fully on board with the project and projecting her own virtuosity at often daringly low volume. The opening Andantino began very quietly indeed and even the central, speedy Scherzo: Vivacissimo was working to hairline tolerances in terms of balance between soloist and ensemble. The concerto may not have had the narrative of the other works on the programme, but it lacked nothing in drama. The lyricism that reappears in the final movement was combined with a powerful edge, honed like tempered steel.
As former chief conductor Robin Ticciati steered the SCO into spheres of music it had previously not visited, as well as recalibrating more familiar repertoire, so too, in his own inimitable style, has Maxim Emelyanychev. He may, however, be bringing a more radical, and – crucially – more intimate approach to that aspect of his job.
Concert repeated at the Usher Hall, Edinburgh and City Halls, Glasgow tonight and tomorrow.
Picture: Alina Ibragimova