Lammermuir: SCO / Poska
St Mary’s Church, Haddington
Like the Formula 1 calendar and the soccer season, the itinerary of the Scottish orchestral musician now lacks much in the way of clear holiday breaks.
The Scottish Chamber Orchestra visited Lammermuir on the last lap of its extensive summer touring schedule, with concerts of music by contemporary women composers aimed at school students in Musselburgh, Ayr and Dumfries to come next week before Nicola Benedetti launches the new season, premiering James MacMillan’s Second Violin Concerto at the turn of the month.
The woman in charge on Wednesday evening was the Estonian chief conductor of the Flanders Symphony Orchestra and Principal Guest Conductor of the Latvian Symphony, Kristiina Poska. Her programme majored on Beethoven, opening with the Overture “Coriolan” and closing with Symphony No 2, with Shostakovich’s Chamber Symphony and a contemporary work from Estonian composer Erkki-Sven Tuur in between.
Compact enough in duration, it was a rich, if often rather bleak, mix in a Lammermuir Festival that has found room for all three of Scotland’s orchestras – although perhaps not an enormous amount of room for the BBC SSO in Dunbar Parish Church this Friday.
On both the overture and Beethoven symphony, the SCO sounded like a larger outfit in this space with its reverberating acoustic. Nonetheless Poska, a very precise and clear conductor, had the playing edgy and keen, and the dynamics of the string sections particularly precisely graded. The Coriolan was powerful and the Second increasingly colourful as it went on, the SCO winds as dependable as ever, and guest first flute Daniel Pailthorpe (from the BBC Symphony Orchestra) a star turn. Poska really ratcheted up the performance as she built towards an explosive finale.
The works in the middle were more exercises in focused intensity, almost frighteningly so in the case of the Shostakovich, on which leader Michael Gurevich shone from the start, and principal cello Christian Elliot later. The composer’s amplification of his Eighth String Quartet for string orchestra is all about specifics of tone on the instruments, and the range of brooding notes they can produce. The balance Poska achieved was ideal.
Tuur’s Flamma also demands prodigious technique from a smaller string ensemble, particularly in the bowing, although there was some lightning fingering to appreciate as well. Commissioned by the Australian Chamber Orchestra, the composer’s programme note references the indigenous people’s relationship with fire as a purifying as well as a destructive force, and the emphasis sounded to be on the former. As much as the Shostakovich, it is a work specifically tailored to the forces it demands, constantly switching between ensemble and solo voices, which sometimes echoed one another in minimalist fashion. The overall effect, however, was much more expressive and pictorial.
Programme repeated this evening in Blair Atholl and on Saturday (September 17) in Greenock.
Picture of Kristiina Poska by Kaupo Kikkas