VoxCarnyx

City Halls, Glasgow 

This was a programme that invited multiple layers of curiosity. How does Bach sit full-on, head-to-head with Stravinsky? Is repertoire that uses bits and pieces of a symphony orchestra, but never its full complement at one sitting, an efficient use of resources? Would such a stylised programme from the BBC SSO, augmented by the London-based BBC Singers, pull in the crowds? Under the programme’s originator, SSO chief conductor Ryan Wigglesworth, these questions were duly answered.

The pairing of Bach and Stravinsky was, indeed, an inspired proposition, especially as the latter was represented by two of his Neoclassical hits – the chilling intensity of the Symphony of Psalms and steely austerity of the Symphonies of Wind Instruments – and Stravinsky’s own arrangement of Bach’s Canonic Variations on “Von Himmel hoch”, originally for organ, here impishly rewired for mixed-bag ensemble and chorus. 

Against that, Bach’s funeral cantata, “Komm, Jesu, komm!”, and his exuberant D major Magnificat offered contrasting visions of a composer whose life’s work was dedicated “to the greater glory of God” – the contemplative genius reaching deep into the human soul, and the unharnessed virtuoso illuminating the famous Song of Mary with inimitable lustre.

It was a juxtaposition well worth savouring and contemplating. Wigglesworth seemed infinitely more at ease with Bach. In the cantata, requiring only a three-man continuo in support of the chorus, he adopted a poetic approach, which certainly gave the singers ample latitude to express the suppleness of the writing. In the wake of the Canonic Variations, a veritable cornucopia of Stravinskian hooliganism, the calming aura of such pure-grained Bach was a welcome touch.

It also cleared the air for the ensuing Symphony of Psalms, now with a larger ensemble in a work that uses near-mystical restraint to power its emotional soul. A cautious start from Wigglesworth had its worrying moments. His grasp tightened as the performance progressed, but not always with enough rhythmic tautness, or that vital sting in attack, to generate the “wow” factor. More a safe performance than a moving one.

Similar issues denied the Symphonies of Wind Instruments the sustained captivation and momentum it crucially needs. Not so with Bach’s Magnificat, though, which earned its place as the evening’s sparkling peroration. Now there was fire in the belly, spirited and stylish Baroque playing from the SSO topped by the nimble virtuosity of the trumpets, deliciously eloquent obligato solos from the woodwind, and a polished, solid performance from the BBC Singers, the solos issued from within its ranks.

So yes, this programme, courageous and ingenious, was also stimulating and coherent. The smooth choreography that eased such extreme switches in orchestration and layout between successive pieces was, in itself, a work of art. And there was enough of an audience to appreciate the boldness of the venture and to play its part in animating the live broadcast on BBC Radio 3. 

Ken Walton 

This programme was repeated in Perth. Listen again on BBC Sounds