Queen’s Hall, Edinburgh
Hot on the heels of her star turn in the SCO’s first 2021 foray into the Igor Stravinsky jubilee repertoire, The Soldier’s Tale, the chamber orchestra offers a Wild Night in the company of percussionist Louise Goodwin in its latest online concert.
And that’s not the half of it, because this recital – of mostly 20th century Czech music – also includes two colourful visits to the theatre and kicks off with some charming, but rarely heard, salon music. Dvorak, the composer of the latter, and Martinu, whose music ends the programme, are the better-known names, but Scotland can boast particular connections with the other two: Hans Krasa and Pavel Haas.
Krasa’s children’s opera Brundibar was a rediscovered centrepiece in the exploration of the music composed in Terezin concentration camp at Stirling’s Macrobert Arts Centre some years back, and the string quartet named after Pavel Haas, who was also imprisoned there and also died in Auschwitz, made its UK debut at Orkney’s St Magnus Festival after winning a European competition at which Sir Peter Maxwell Davies was a judge.
There is an elegant simplicity to the four easy pieces – “Miniatures” in his catalogue – that Dvorak composed in 1887 for himself and two friends to play, performed here by violinists Ruth Crouch and Amira Bedrush-McDonald with Brian Schiele on viola, and the closing Elegie hints at some of the darkness that surrounds the music that follows. Piano, percussion, flute, piccolo, clarinet and trumpet join the strings for the Brundibar Suite, arranged from the opera’s full score for the Nash Ensemble by David Matthews in 2011, and faithful to the instrumentation Krasa had to work with in Terezin.
The cabaret feel to the band is particularly evident from the music’s percussive edge, not just in Goodwin’s hands but also those of pianist Aaron Shorr and Shiele’s banjo-imitating pizzicato viola. The seven short movements of the suite end with a march that is easier to imagine a battalion in step with than the one in Martinu’s louche four-movement La Revue de Cuisine.
Martinu made this suite for sextet from the music he composed for a bonkers ballet about the private lives of kitchen utensils, written in Paris in 1927. As well as some wonderful writing for Eric de Wit’s cello, it is coloured by the bassoon of Paul Boyes at the top of its range and the selection of mutes varying the voice of Peter Franks’ instrument in a style the trumpet section in Duke Ellington’s band knew well.
That promised Wild Night is the 4th Movement of Pavel Haas’ String Quartet No 2 “From the Monkey Mountains” for which the composer specified the defining addition of percussion, a score detail often ignored in string quartet performances. Not only does Louise Goodwin’s contribution here emphasise the jazz influences in the music, in this context it underlines the sadder question of where both Haas and Krasa may have taken their music given the opportunity to exchange ideas with artists elsewhere that Martinu was fortunate to enjoy.
This performance is available to view via the SCO’s Facebook page and YouTube channel until February 14.